Bronwyn Bailey-Charteris

Bronwyn Bailey-Charteris is a Swedish/Australian curator, writer and lecturer based in Stockholm. Bronwyn is a current PhD student at the department of Art + Design at the University of New South Wales (UNSW) researching water and art in her thesis entitled ‘Ingesting the Hydrocene: Watery thinking for response-ability to the climate crisis’. Research interests are focused upon processes of watery thinking in contemporary art, ecology as social metaphor and feminist methodologies of curatorial practice. Working with practical learning platforms, publications, and exhibitions, she currently works with curatorial matters of art and research at Accelerator and as a lecturer at Stockholm University. She is also a guest lecturer at the Royal Institute of Art and Stockholm University of the Arts.

Recent curatorial work includes solo exhibition Rosana Antoli A Golden Age: Pulse, Throb, Drift at Centro Centro, Madrid 2020, group exhibition Djup Tid at Sormlands Museum, Nykoping 2019 and Within Deep Time at Blue Mountains Cultural Centre, Greater Sydney 2019, both with co-curator Nina Stromqvist. As curator at Index Foundation her work includes solo exhibition of Roxy Farhat: WUH-SHHHP 2019 and group exhibition And Tomorrow And 2019 featuring works by ecosexuals Annie Sprinkle and Beth Stephens, the Otolith Group, Ursula Biemann, Katja Aglert and Fabrizio Terranova’s documentary Donna Haraway: Storytelling for Earthly Survival among others. In 2018 she coined the term Precipitational Learning as a way to understand water and collective learning practices in art as embodied hydrological processes.

Her work with water is central to her teaching and doctoral thesis that deals with the Hydrocene, a curatorial theory and practice Bronwyn has created to amplify the pioneering ways some artists and curators are collaborating with water. The Hydrocene argues for artistic methods of thinking with water in the age of accelerating climate crises. Embodied and relational it amplifies unexamined perspectives on the interrelation of curatorial practice, art, climate, water and intersectional feminisms. By arguing for water-centered practices the Hydrocene offers up a model for engaging with embodiment, hydrofeminism, transcorporeality and response-ability in the interconnected zone of natureculture. In 2020 she presented her work on Ingesting the Hydrocene at The Post Humanities Hub seminar series from KTH and Linköping University, as well as part of the Curating in Context program with UniArts and with students at the Royal Institute of Art, Stockholm.

Bronwyn is in her third year of her PhD candidacy at UNSW, where she also achieved a Masters degree in curatorial studies alongside a double Bachelor degree in Fine Arts (Time Based Art) and Arts (Film, Theatre and Performance). She has undertaken artistic research placements at both major art schools in Stockholm – as a 2014/15 Mejan Resident at the Royal Institute of Art and in the 2013/14 CuratorLab program at Konstfack University College of Art and Design.

Pronouns: She/her/they

Academia

Email: bronwyn.jean at gmail.com

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