Course information

Length

3-4 years full-time or 4-6 years part-time

Course overview

This graduate programme is geared towards advancing the grounds for different forms of practice, from artistic to infrastructural. While practice manifests differently, it always entails research and always contributes to knowledge.

The MPhil/PhD program in Advanced Practices responds to the growing importance of practice driven research within knowledge production, public exhibiting, and cultural organising.

This program will provide you with an opportunity for your own work to engage with the widening horizons of new practices. It will also enable you to invent methodologies, reframe urgencies, and reimagine the contexts for work.

Building on theoretical grounding, the program offers an opportunity to bring together different sources of knowledge, methodologies, and models of making public.

Concepts animating our work on the program:

  • Choreo politics
  • Anthropology as Cultural Critique
  • Cultural Metabolics
  • Curatorial Knowledges
  • The Exhibitionary Matrix
  • The Intrusions of Nature
  • Race and Digital Ecologies
  • Practice Epistemology
  • Spectral Infrastructures.

This is practice-driven and research-based programme which can incorporate projects in progress, collaborations with organisations, and platforms. It can also be an opportunity to rethink the circulation and meaning of how/to whom work is communicated, and to put forms of transdisciplinarity into practice. Seminars are taught six times a year, encouraging those working in the field to be able to maintain their work. Participants are artists, curators, organisers, researchers, and activists.

The Goldsmiths Program in Advanced Practices is linked to the European Forum for Advanced Practices (funded by the COST.eu action).

Recent guest lecturers (2019-2020):

  • Adam Bencke, Chief Curator, Museum of Medicine, Copenhagen
  • Christine Shaw, “The Work of Wind”, Chief Curator,Toronto University Museum
  • Manuela Moscoso (Liverpool Biennial “The Stomach and The Port”)
  • CAMP, Arts and Research Collective, Mumbai
  • Coco Fusco, Performance Artist, Filmmaker and writer, Florida.
  • Nora Sternfeld Curator and Educator, Hamburg and Vienna.
  • Elvira Dyangani Ose, The Showroom, London

Find out more about research degrees at Goldsmiths.

Contact the department

If you have specific questions about the degree, contact Professor Irit Rogoff.

What our students say

Anshuman Dasgupta

I believe my association with the Advanced Practices (Curatorial/ Knowledge) programme has significantly contributed to my ability to approach curatorial challenges with a new framework informed by global intercultural interaction.

The first appeal of the Advanced Practices (Curatorial/ Knowledge) PhD programme at Goldsmiths College, for someone engaged in full-time teaching, as I am at the Visva Bharati University (Santiniketan, India), is its unique flexibility that allows working professionals to simultaneously pursue their study. Furthermore, the dialogic design and the interdisciplinary direction of the programme, opens up multiple possibilities in the fields of curation and critical thought, for a researcher-practitioner. This approach to curating, which lays equal stress on the visual and the conceptual, helped to strengthen my research ideas around ‘Borderlands’, an area of curatorial engagement I thought significant in the contemporary context, but least attended to in 2007, when I started my PhD.

The orientation of the programme also encouraged me to approach other projects actively during the tenure of the PhD study, as opportunities to work out curatorial ideas generated in the process. The Santhal Family exhibition in the Museum of Modern Art (MuHKA) in Antwerp, Belgium (2007-08), was one such, where I was co-curator. Conceptualised around a particular site-specific sculpture located in Santiniketan, a past context of migration was revisited in this exhibition, with a new critical, transnational and cross-cultural focus. In 2014, I worked in the Tagore Pedagogy and Modernity project, which straddled three locations- Santiniketan (India), INIVA (London) and NGBK (Berlin), and approached the Tagorean idea of education from multiple points of view and from the recipients’ perspectives. I collaboratively developed the Black House Project, around the Black House building in Santiniketan, in 2015. This was an interdisciplinary project involving architecture and visual practices, which attempted to contemporise an indigenous, early twentieth-century experiment in architecture, through public interactivity. Currently, I am engaged as official Indian researcher for the forthcoming Bauhaus100 project, and am also working as a curatorial collaborator, connecting the pedagogic aspects of Rabindranath Tagore’s educational programme for a project by Valand Academy, Sweden. I believe my association with the Advanced Practices (Curatorial/ Knowledge) programme has significantly contributed to my ability to approach curatorial challenges with a new framework informed by global intercultural interaction.

Image: Project Borderland – A workshop scene from Assam, 2012

Vipash Purichanont

The think-tank structure makes us learn from each other as much as learning from the programme.

The think-tank structure makes us learn from each other as much as learning from the programme. The environment encourages the act of thinking beyond disciplines and shapes my professional practice as a curator.

Doreen Mende

My time and studies with Advanced Practices (Curatorial/Knowledge) has transformed my life. It allowed me to develop a situated vocabulary as well as practice regarding the conflict in the Middle East and the Palestinian struggle from lived experiences, unfinished histories, and entangled modernities and friendships.

The Advanced Practices Program began initially as Curatorial/Knowledge. When I joined, it felt more like a think-tank of brilliant people who had been already working internationally in art institutions and self-organised spaces while teaching in a University of Arts and Design, yet, felt an unease and dissatisfaction with the established norms including one's own limits to practice a radically different approach. Instead of joining a classical curatorial-studies program, therefore, I was fully compelled by the Goldsmith visual culture' program that would allow me to unlearn and to challenge modernist-imperial principles of exhibition making, exhibition architecture, art-making, collaborations and making knowledge public in the light of a migratory post-1989 world in permanent crisis.

For me, the futuristic horizon of Advanced Practices is the focus on knowledge as a political, trans-cultural, difficult, contemporary, emancipatory and social process. Knowledge is not a subject to master but a condition to develop, to process, to unlearn and to share with, for example, my fellow students from all over the world. Small-scale seminars or lectures with global intellectuals such as Ariella Azoulay, Kodwo Eshun, Mark Fisher, Griselda Pollock, Gayatri Chakravorty Spivak, Eyal Weizman, and many more, made me feel to be part of a community to learn from. Doing my PhD with that Program has prepared me more than I could have ever expected to help my career as an international curator, theorist, writer, as a woman and currently professor to grow organically, confidentially and collaboratively.

Generally speaking, my time and studies with Advanced Practices (Curatorial/Knowledge) has transformed my life. It allowed me to develop a situated vocabulary as well as practice regarding the conflict in the Middle East and the Palestinian struggle from lived experiences, unfinished histories, and entangled modernities and friendships, not by studying it in an academic-normative manner but by studying it as a practice of thinking and living with places, moments, encounters and friends in Ramallah or Beirut.

In 2019, I was awarded with a four-year research grant by the Swiss National Science Foundation (SNFS) for Decolonizing Socialism: Entangled Internationalism. The grant allows me to built a team at HEAD GEneva in collaboration with the University of Basel, the VanAbbe Museum, and HKW Berlin for realising a trans-disciplinary, academic as well as curatorial process.

See more profiles for this programme

Entry requirements

You should normally have (or expect to be awarded) a taught Masters in a relevant subject area. 

You might also be considered for some programmes if you aren’t a graduate or your degree is in an unrelated field, but have relevant experience and can show that you have the ability to work at postgraduate level.

We welcome applicants from all disciplines, as well as those with a background in art and curatorial practices who want to engage with the expanded field. Such background can be a relevant degree or cumulative practice. The program enables exchanging knowledges and experiences between multiple fields contributing to the advancing of practices.

International qualifications

We accept a wide range of international qualifications. Find out more about the qualifications we accept from around the world.

If English isn’t your first language, you will need an IELTS score (or equivalent English language qualification) of 6.5 with a 6.5 in writing and no element lower than 6.0 to study this programme. If you need assistance with your English language, we offer a range of courses that can help prepare you for postgraduate-level study.

Fees, funding & scholarships

Annual tuition fees

The fees for 2021 will be made available soon, but for reference these were the fees for 2020.

  • Home - full-time: £4407
  • Home - part-time: £2203.5
  • EU - full-time: £4407
  • EU - part-time: £2203.5
  • International - full-time: £14760

If your fees are not listed here, please check our postgraduate fees guidance or contact the Fees Office, who can also advise you about how to pay your fees.

It’s not currently possible for international students to study part-time if you require a Tier 4 student visa, however this is currently being reviewed and will be confirmed in the new year. Please read our visa guidance in the interim for more information. If you think you might be eligible to study part-time while being on another visa type, please contact our Admissions Team for more information.

If you are looking to pay your fees please see our guide to making a payment.

Additional costs

In addition to your tuition fees, you'll be responsible for any additional costs associated with your course, such as buying stationery and paying for photocopying. You can find out more about what you need to budget for on our study costs page.

There may also be specific additional costs associated with your programme. This can include things like paying for field trips or specialist materials for your assignments.

Funding opportunities

Find out more about postgraduate fees and explore funding opportunities. If you're applying for funding, you may be subject to an application deadline.

How to apply

You apply directly to Goldsmiths using our online application system. 

Before submitting your application you'll need to have: 

  • Details of your education history, including the dates of all exams/assessments
  • The email address of your referee who we can request a reference from, or alternatively an electronic copy of your academic reference
  • Contact details of a second referee
  • personal statement – this can either be uploaded as a Word Document or PDF, or completed online

          Please see our guidance on writing a postgraduate statement

  • If available, an electronic copy of your educational transcript (this is particularly important if you have studied outside of the UK, but isn’t mandatory)
  • Details of your research proposal

You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.

Before you apply for a research programme, we advise you to get in touch with the programme contact, listed above. It may also be possible to arrange an advisory meeting.

Before you start at Goldsmiths, the actual topic of your research has to be agreed with your proposed supervisor, who will be a member of staff active in your general field of research. The choice of topic may be influenced by the current research in the department or the requirements of an external funding body. 

If you wish to study on a part-time basis, you should also indicate how many hours a week you intend to devote to research, whether this will be at evenings or weekends, and for how many hours each day.

Research proposals

Along with your application and academic reference, you should also upload a research proposal at the point of application. 

This should be in the form of a statement of the proposed area of research and should include: 

  • delineation of the research topic
  • why it has been chosen
  • an initial hypothesis (if applicable)
  • a brief list of major secondary sources

When to apply 

We accept applications from October for students wanting to start the following September. 

We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place conditional on you achieving a particular qualification. 

If you're applying for external funding from one of the Research Councils, make sure you submit your application by the deadline they've specified. 

Selection process 

Admission to many programmes is by interview, unless you live outside the UK. Occasionally we'll make candidates an offer of a place on the basis of their application and qualifications alone.

Find out more about applying.

Course structure

Overview

MPhil/PhD students will participation in 6 annual seminars, oral presentation of research project, participation in department pre-upgrade panel and dissertation (Practice based and written submission). 

There is a collaborative Practice Laboratory focused on an annual thematic that is investigated collaboratively – this Laboratory is currently taught in weekly online meetings, seminars, and guest lectures.

Assessment

Visual Cultures assessment are 100% coursework. Normally this consists of essays, sometimes accompanied by creative projects, group projects, multi-media projects, presentations, symposia, reviews, and studio work.

Staff

Professor Irit Rogoff

Irit Rogoff is one of the initiators of the transdisciplinary field of Visual Culture and founder of the department at Goldsmiths. Her initiatives to establish this new field are led by a belief that we must work beyond bodies of inherited disciplinary knowledge and find motivation for knowledge production in the current conditions we are living out.

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Dr Bridget Crone

Dr Bridget Crone is a curator and writer. Focussing on the body in material and speculative terms, her work explores questions of “liveness” and the image in relation to performance theory / practice, and the changing relations of body, technology and ecology.

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Dr. Adnan Madani

I'm an artist, writer and curator interested in contemporary subjectivities in relation to philosophies of globalization, religious/secular life and intercultural encounter. My focus is on the work of Jean-Luc Nancy, Wittgenstein, Talal Asad and the ethics of esoteric Islam as developed by Massignon. Other areas of specialisation include contemporary South Asian art and popular urban cultures in Pakistan.

Read more

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