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Mr Kieren Reed
Slade School of Fine Art
Gower Street
London
WC1E 6BT
Appointment
  • Senior Lecturer
  • The Slade School of Fine Art
  • Faculty of Arts & Humanities
Biography

Kieren Reed's practice encompasses sculpture, performance and installation, from studies in form to the production of architectural structures. Artworks are most often linked to a place, a site or a consideration of a space or situation. Taking an interest in the conceptual space between form and functionality, the real and the fabricated, artworks explore the artistic task of imitating reality, considering their own utility to society. Presenting them provides a public stage for the 'private' principle of work. Their meaning is in their use, needing both to act in real terms as usable forms as well as simultaneously functioning aesthetically as sculpture. The use value of the work is manifested by being engaged with by the public and audience. It then becomes real - a simulacra of itself. This duality ensures it never becomes a static work, always being part of a negotiation.

Currently working on large-scale social architectural commissions for 2017 and new artworks which further consider notions of form and functionality, recent projects and commissions have included Tate Britain, Whitstable Biennale 2010, Ritter Zamet, Quay Arts, Camden Arts Centre, Ikon Gallery, The New Art Gallery Walsall, Gasworks and Studio Voltaire.

Born 1976 in Dover, Lives and works in London


2016

Public Art Commission, Focal Point Gallery. Southend


2015

Agency Without Intention, Herbert Read Gallery, Canterbury

Social Sculpture, Artsway


2014

Chronesthesia, Performance. Centre for Remote Possibilities, Matts Gallery, London

From the Ground up, (A)social Building. Whitstable Biennale

The Beautifullest Place On Earth. The Red House, The National Trust

Social Sculpture, Downstairs Gallery

Creative Residency. UCA, Canterbury

Liminal. McAulay Gallery, Tate Modern.


2013

Liminal, Tate Britain

Liminal: Summer Series Tate Britain

Liminal: Film Screenings

KADN Kiosk, Folkestone Artworks (Folkestone Triennial / Creative Foundation)

Social Sculpture (artists residency), Downstairs Gallery


2012
Inside/Outside: Materialising the Social, Symposium Tate Modern Tanks
Social Sculpture (HQ), Whitstable Biennale
Liminal, Tate Britain

2011
Ollerplex Un-Plex, Oriel Sycharth Gallery, University of Wales
Note Well, Tate Modern (resource)

Wellbeing, UCLH Hospital, London

Father, Solo Exhibition, Ritter Zamet, London
Alien Nation, West Bourne Studios, London


2010
Pavilion, Whitstable Biennale
Fake Modern, Camden Arts Centre

We are ten, New Art Gallery Walsall


2009
Intervention VIII, Truman Brewery, London

Intervention VII, Ritter Zamet, London

Intervention VI, Show Studio, London

Placard Shelter, Performance/event. Commissioned by Chisenhale at V&A Museum of Childhood
 


2008
40 Second Time Machine, Vernacular Spectacular, Folkestone Triennial Fringe
Intervention IV, Ikon Gallery, Birmingham

KADN Kiosk, New Art Gallery Walsall

Art Futures, Contemporary Art Society, Bloomberg Space, London
 

2007

Why can’t you leave me alone and let me be? Ritter Zamet, London
Political & Poetical, Kumu Art Museum, Tallinn, Estonia
Rite of Passage, Quay Arts, Newport IOW
Stick Stamp Fly, Gasworks, London
How We May Be, Late at Tate Britain, London
Political Art Almanac, Reunion Projects, London
You and Me Too, Cubitt, London

2006
KADN Kiosk, Camden Arts Centre



Research Themes
Research Summary

Sculpture as Architecture
Exploring the conceptual space between form and functionality and the artist’s inimitable skill of making, artworks are positioned as sites for engagement and discourse. Artworks act both in real terms as well as simultaneously functioning aesthetically as sculpture. This duality ensures they never become static works, but part of a negotiation both functional and purely aesthetic.This research explores the basic human desire to make or find a personal space, refuge or sanctuary as well as the artist’s specific need to occupy a studio – a place where one can go to research, collect, ;explore and display ideas. By sharing this creative, generative process with the audience, this allows a portrait of the artist at that given moment, a rare ;insight into how the idea is translated into the material.

Outcome:

Pavilion, Whitstable Biennale, Kent. 2010, 2012

Solo Exhibition, Ritter Zamet, London. 2008, 2011
Funded by Arts Council England and Canterbury City Council

Social Architecture 2008 - 2013


A series of sculptural installations are conceptually linked;to a specific site, space or situation. The works themselves are only;‘activated’ through the relationship with their potential audience – becoming a site for exchange, the transfer of information and the initiation of discussion– the ultimate synthesis between the physical and discursive dimensions of sculpture.

Changeable environments in line with concurrent exhibition programming at both IKON and Tate Britain, these interventions are produced after research with local groups and audience, exploring the concepts of usable space and notions of display and museology within functionality. Spaces must be entered into – moving the audience into an alternative possibility, placing an emphasis onto them in terms of their interaction with the structure. These interventions create an experience in itself, encouraging active engagement from the viewer and moving them into and around the artwork, considering its function within the context of a wider gallery collections.

Sometimes empty, these interventions have the potential for either/both events and display, with built in vitrines, shelving and cases that remain integral to the structure and are part of the work whether functioning as display spaces or not.

Outcome:
Ikon Gallery, Birmingham, 2008 - Continues

Liminal, Tate Britain, London. 2012-2013

Funded by Arts Council England, Creative Futures and Tate



KADN Kiosk

Created as a ‘flat-pack’ movable structure, KADN Kiosk is ambiguous and suggestive of notions of exchange and simulation. The kiosk itself acts as a tool to produce the work, finally being seen as an art object or relic documenting the events that happen in or around it. It functions as a space for the transfer of information and the initiation of discussion, placing artists Kieren Reed and Abigail Hunt at the fulcrum point within a discourse and providing the audience with the opportunity to offer and/or take information.

This research explores communication and a process of negotiation and authorship. This notion which is rooted in the very idea of collaboration raises many issues about public voices, agency and audience manipulation.



Outcome:

New Art Gallery Walsall, UK. Commissioned by Camden Arts Centre and New Art Gallery Walsall. 
Funded by Arts Council England and Walsall Council

Teaching Summary
Head of Undergraduate Sculpture
Director of Studies, Undergraduate Programmes and Undergraduate Tutor.
UCL, Slade School of Fine Art.
Academic Background
2012 PGCLTHE Postgraduate Certificate in Learning and Teaching in Higher Education – Education - Postgraduate Institute of Education
2007 MA Master of Arts – Fine Art University of the Arts
1999 BA Hons Bachelor of Arts (Honours) – Fine Art Kingston University
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