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“With this collection, Nomad draws from the archive to present a series of observations exploring the political, cultural, economic, religious & psychological concept of borders & the precarious zones located in between.

This collection of films attempts to scrutinize the notion of what divides one state from another, be it a simple line, a divisional wall, or a set of papers that dictate our individual rights.

This narrative is part of ongoing research investigating the complexity and changeable nature of self & state. Nomad is interested in the notion of nationalism & its divisive role in shaping identity & cultural difference.”
Michael Smythe & Piera Buckland, January 2011

With an uncommon fervour, Nomad make art happen. By building support structures, by research, by commissioning and by producing, Nomad provide the creative links between artist, production, venue and exhibition. Fundamental to Nomad’s practice is developing long-term relationships; they are less interested in pushing a prolific public programme and instead focus on working with artists, including Nathanial Mellor, Marcus Coates and Le Gun, to develop their work in genuinely interesting and generative ways that are both proactive and accessible.

When we first approached Nomad to guest curate a show of work drawn from the archive we asked them to take as their point of departure Marcus Coates’ wonderful A Guide to the British Non-Passerines. As any sensible person would, they began by entirely disregarding this rule and set about creating their own curatorial stance and selecting a series of films they felt defined their own practice as artists and producers.

This approach sums up precisely why has a space online for guest curated programmes: In order for collaborators to programme a series of films that reflect the identity of their own artistry, and to explore through the work of others the issues that concern and effect their own personal identities as artists. With enormous gratitude do proudly present Nomad…

Bridge/Puente (making of) (2006), courtesy of Francis Alÿs