Goldsmiths MFA Fine Art

Reposting on here so the information can disseminate further! To all Goldsmiths students keep yourselves informed!! A marking and boycott assessment is currently in action! Although the art courses at Goldsmiths remain as popular as ever and are, in fact, growing, these cuts affect every facet of our education. It is an attack on critical thought across the HE sector. Management is causing irrevocable damage and must be stopped. @goldsmithsucu @freegoldsmiths

Opening this week: 𝘜𝘯𝘤𝘶𝘵 𝘏𝘢𝘪𝘳𝘪𝘵𝘢𝘨𝘦 group show with MFA Y1 @wildenooo @giulia_fassone @hhhhhhui_i Located in the basement of the Bohemians hair salon in Deptford, SE8 4PH @thebohemianssalon Wednesday 20th PV: 6-8 PM with a performance at 7 PM by Hui Liu Open Thursday 21st 10-4 PM Everyone's welcome! Looking forward to see you bunch of lovely faces

We are excited to announce our two MFA students will be participating in Photo London 2026 (@photolondonfair ) with a presentation by Philip Steele (@philipsteeleart ) and Moses Tan ( @kickthatmo ) “Corporeal Fantasies” is a collaborative installation by artist duo Philip Steele (he/him) and Moses Tan (he/she/they). The installation follows the intersections of queerness, grief, allegory, autotheory, and longing, explored through lens-based works. The works presented will also be developed through various mediums, including print, video, sculpture, assemblage, and collage. Photo London 2026 will open on the 13th May 2026 with a VIP preview and run from 14th - 17th May, at the National Hall, Olympia in London. s t a r c h will be part of the Discovery section at booth J04. Looking forward to catching everyone there!

Our first presenter tomorrow will be Fanie Buys! Come join us in Deptford, room 4! Fanie Buys @fanie_nani (b. Hermanus, South Africa) studied a Bachelor of Fine Arts at Michaelis, University of Cape Town and is currently a final year Masters candidate at Goldsmiths. Buys’ work is predominantly painting, but uses the discipline as a modality to explore ceramics and installation. Conceptually, Buys’ practice is confirmed with taste: drawing on the history of painting to construct metaphor and make juxtapositions. His work is primarily figurative; considering the validity of depiction in a post internet society. Drawing on personal experience Buys employs a witty vernacular, incorporating aspects of popular and internet culture to his work. His foundational concern is how people understand and create their sense of belonging, and how those conceptions (or misconceptions) manifest. 1. Nothing Tastes as Good as Rococo Feels, Oil on Canvas 2. George Michael, Cruising in Heaven, Porcelain and Oil paint 3. Soviet Britain, Porcelain and Oil paint 4. Considerably Nonchalant, Oil on Canvas

First year project crits are underwayyyy Brave New Exhibition is a group show that examines the impacts of systemic surveillance, sacrificial individuality and what it means to be happy. Taking Aldous Huxley’s Brave New World as its conceptual point of departure, the work challenges notions of control through contemporary technological and psychological manipulation. Join us on our opening night May 11th from 6-9pm. Performance from 7pm. Open 12th May 10 – 1pm AMP Gallery Peckham, 1 Acorn Parade, London SE15 2TZ @maverickprojects Artists: Ash Yue @ash.w.yueh Blue Phoenix @bl_uephoenix_ Iris McConnell @irismcc0nnell Beatrix Haxby @beatrixhaxby_

This week, Nina Wakeford (Professor of Fine Art) is opening the Swiss Pavilion at the Venice Biennale! 'The Unfinished Business of Living Together' takes coexistence as both a social promise and a contested form. The project mobilises art to reopen the archive as a site of active dispute and engagement. The project begins with voices featured in an April 1978 episode of the Swiss public television programme Telearena,in which the so-called ‘problem of homosexuality’ was debated publicly and controversially on live television. This broadcast marked one of the first occasions when individuals identifying as homosexual gained a mainstream public voice beyond subcultural groups, catalysing and building coalitions between lesbian and gay communities across Switzerland. This theme was revisited six years later by the francophone talk show Agora (1984), bringing together Swiss, French, and Canadian audiences via satellite. Both programmes used live sketches written by the TV drama department to stimulate debate in the studio and encourage the audience to respond based on their own experience. For the artistic team of the 2026 Swiss Pavilion, the challenges of living together remain unresolved, and can be addressed in wildly different forms. Attempts at social change continue to compete against established norms and institutionalised systems of exclusion and silence. Within this framework, homosexuality serves as one historically specific entry point into examining how social norms determine who can speak and be heard. These debates reveal broader patterns: from state security requiring surveillance to moral panics around the nuclear family, showing how various forms of difference become perceived as threats to social order. Artistic group Gianmaria Andreetta, Luca Beeler, Nina Wakeford, Miriam Laura Leonardi, Lithic Alliance und Yul Tomatala Commissioners Swiss Arts Council Pro Helvetia: Katharina Brandl, Sandi Paucic, Rachele Giudici Legittimo Exhibition dates 9 May – 22 November 2026 Pavilion of Switzerland at the Biennale Arte 2026, « The Unfinished Business of Living Together », ph. Credits : Christian Beutler - Keystone. @prohelvetia @labiennale

Introducing first year Federico Tejeda @federico__tejeda and his practice Federico Tejeda (b. 1995, Lima) is a Peruvian artist working across installation, sculpture, and video. His practice examines the technical constitution of embodiment through affective and material experience. His current research focuses on how belief systems are embedded in technological forms. More of his work in: / Image_01: “5” (2024) Aluminum,bone, iron, polyurethane. Image_02: “5” (2024) Detail Shot. Image_03: “Break Inertia” (2024) Iron structures, welding, stainless steel fasteners, copper couplings, single-phase motors, capacitors, electrical wiring, electrical panel. Timer set to 30 seconds working per 5 minutes rest. Image_04: ¡Pisa, Pisa! (2025), UV Print on tempered glass, steel, rubber. Image_05: Babel/Stele (2024), TV casings, stainless steel fasteners, iron, polyurethane. 230x70x65 (cm) Image_06: Babel/Stele (2024), Detail Shot. Image_07: Obsession [Modern] (2025), Steel, welding, rock, monophasic motor, rubber, stainless steel couplings, electric cable, teflon. Image_08: Seraphim (2025), Pastic, Polyurethane. Image_09: Seraphim (2025), Detail Shot. Image_010: dead_weight.mp4 (2021), Digital video of performance [edited for publication]. Image_11: Accumulation #2 (2024), Chrome, aluminum, stainless steel, plastic.

Our first presenter tomorrow will be Mia Grassie-Clarke @miagrassiestudio . Please come join us at Deptform, Room 4! My name is Mia, I am an artist from Brighton and New York. Using myself as primary reference material I question and embody the stereotypes of what it means to be a female painter and a girl online. Using a built set of language I interpret the condition of girl/ girlhood. Recurring motifs include the frame, the paintbrush, bows, socks and selfies. Images 01 charming girl , graphite and buttons on canvas 02 WIP 03 plush soft girl core , detail , ink on paper 04 wallpaper sample

MFA Student Leanna Moran @leanna.moran has her film showing at this year’s Art Hub Studios Film Festival. ’Drink the beer Jamie’ is a fragmented collage of home video and audio material used as part of an ‘ar(t)chaeological archive’ features Moran, her brother, mother and father.  Merging artistic research and navigation between both personal and public archival materials, this short film auto-ethnographically combines intimate autobiography and newspaper fragments interweaving highly charged personal and socio-political histories within mid 90’s working class North West London.

SALTY, WET 
Lydia Wong Limbo, 2 Bilton Square, Margate, CT9 1EE 
9–17 May 2026 (12–7pm daily) PV Saturday 9 May, 6–9pm
 Talks by Crab Museum at 7pm — Hong Kong artist Lydia Wong’s (Goldsmiths MFA 2019) work centres on crabs, salt, and bamboo scaffolding, exploring the changing nature of identity in Hong Kong. Salt-encrusted crabs emerge from collapsed scaffold forms, referencing the bamboo scaffolding that has long defined Hong Kong’s skyline. Crabs’ transformative shell moulting is used to treat them as living archives. Drawing on Lo Ting, the mythological ancestor of Hong Kong who lived between land and sea, these works bring together ancestral myth and the preservation of identity. Alongside the exhibition will be a selection of short crab-centric talks from Crab Museum residents and friends, examining political and philosophical angles to crabs and their representation in iconography. — lydiawong.co.uk
 @lyds.lyds.lyds @crabmuseum @limbomargate

Install shots from 2nd year student Zoey Yang’s solo exhibition (@zoeyyangart ) at SUHE HAUS in Shanghai (@suhehaus ). The exhibition, ‘几何 几何 Out of Measure’, is curated by MFA curating student Youmei Chen (@greenbarbenheimer ) and generously supported by ART FUEL RAUM (@artfuel.raum ) An excerpt from the curatorial text: “The system imposes itself as a constraint while also providing support; the body cannot fully detach from the conditions that shape it, and can only persist through continuous calibration. This state recoils from rupture and transcendence, but insists on presence – within established scales and norms, and outside of the geometric promise of regularity and completeness – where small, repeated deviations unfold.”

Opening next week, Friday 1st May at @fiveyearsarchway ‘Daisy Chained’ Catarina Moura @catarinamoura___ Maria Giulia Casco @mariagiuliacasco David Leal @davidleall Tinatin Shaburishvili @tinqtin Preview: 1 May 6-9pm Open: 2-3 May 12-6pm at Five Years, Unit 2B1 Boothby Road, Archway ⛓️‍💥 As a cadence of thoughts, the exhibition Daisy Chained links artworks that hold and trigger memory, moving between global technological systems and the personal, mundane devices that shape our lives. When you plug a plug into another electrical plug, that is called daisy chaining. With the intent of maximising functionality and scale, often technologies become useless, counterproductive, or dangerous. These extensions form erratic bodies: overloaded systems pushed beyond their limits, where connection fails to become coherent. Technologies such as tools, prosthetics, and enhancements are repurposed beyond their original function, taking on layered and sometimes contradictory positions. Many of the objects presented are marked by use or by obsolescence, materially conveying time. Rather than disappearing, they are activated as a kind of afterlife - no longer fulfilling the expectations of their design, yet still charged. Working across varied mediums, scales, and temporalities, Daisy Chained choreographs artworks that play between the archive and the imagination. Here and in this way, the artists approach memory and its devices as something open: continuously accumulating and shifting meaning over time.