Course information


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

Course overview

Goldsmiths' operating principles for 2022-23 have not yet been finalised but should changes be required to teaching in response to the Covid-19 pandemic, we will publish these as early as possible for prospective students wishing to start their programme in September 2022.

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 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

Ines Moreira

The opportunity to attend the Advanced Practices program is a transformative experience to both professional development, and to the birth of possible academic careers.

The opportunity to attend the Advanced Practices PhD (formerly Curatorial/Knowledge) program is a transformative experience to both professional development, in my case as a research curator and editor engaged with architecture and space, and to the birth of possible academic careers, in my case it permitted to start a career as a guest professor and as a post-doctoral researcher.

It took me seven years to complete the program, and I can proudly state that its demanding theoretical framework, the high level discussions with the academic staff at Goldsmiths and its many international guests, along with the many itineraries and meetings in cultural venues in Europe, have prepared us for different outcomes, projects, and even different career opportunities (whether in formal institutions or in creating new organizations).

Today my main occupations are as a Guest Auxiliary Professor at the University of Porto, combined with a full time position as a Post-Doctoral Researcher at the New University of Lisbon, both in Portugal. I am a work group leader at the European Forum for Advanced Practices, a platform gathering around 140 researchers from 36 different countries. In 2016 I opened my first permanent exhibition (and coordinated the teams that set it), the House of Memory of Guimarães, mixing history, anthropology, art, literature, and several forms of crafts and traditional metiers.

To attend Advanced Practices program, I have benefited of a four year full time scholarship from the Portuguese Foundation for Sciences and Technologies (FCT) and would not be able to complete it without their economic support.

Leire Vergara

The programme has allowed me to envision new possibilities for my own position as an academic researcher and a professional curator.

The programme of Advanced Practices (Curatorial/Knowledge) within the Department of Visual Cultures of Goldsmiths College of London has allowed me to envision new possibilities for my own position as an academic researcher and a professional curator. The ongoing discussions and debates opened between the teaching staff, guest speakers and student colleagues during the seminars of Advanced Practices (Curatorial/Knowledge) have given me the opportunity to reflect widely on the relationship between curatorial practice and knowledge production. My interest within these discussions, and concretely regarding my dissertation, has lied in thinking what kind of knowledge curatorial practice can or should produce in contrast to other disciplines and methods of scientific, humanist or artistic research.

As a consequence of all this, the context of this study programme has been an essential source of inspiration for my PhD research and my curatorial practice of the latest 5 years. In this sense, projects like EL CONTRATO, a two-year project (2013-2015) developed by Bulegoa z/b (an office for art and knowledge with base in Bilbao that I run together with Beatriz Cavia, Miren Jaio and Isabel de Naverán) in collaboration with Azkuna Zentroa, have been possible thanks to all the challenging conceptual support received by the programme of Advanced Practices (Curatorial/Knowledge).

Theodor Ringborg

Debate does not end with or is restricted by the art-object when the masterful vision of museology is disrupted.

I have two roles. One is as the Artistic Director of Bonniers Konsthall, a sizable non-profit and influential space for contemporary art in Stockholm. The other is as a Ph.D. student with the Advanced Practices (Curatorial/Knowledge) program at Goldsmiths University. My work with the concept of the curatorial within this academic program has informed a great deal of my work at Bonniers Konsthall, which reaches tens-of-thousands of people annually. Out of a disenchantment with restrictive museological thinking many who operate in art-institutions today ask what we can do with our vast knowhow, organizational skills, resources and how we could deploy what we do differently. The curatorial is capable of encompassing meaning, affect, situation, symbolic power, efficiency and spectacle, which is required if one aims to be a relevant part of and engage in the new visual world of our audiences. This is evident not least in the current wave of scrutiny and controversy enveloping spaces for art.

Not only are issues of sponsorships or the organization of boards being raised in new ways. What gets put on display and how is being increasingly debated by a more informed audience. The concept of the curatorial has allowed those whose investment in it has a practice-based output to turn away from restrictive museological thinking where the art-object is the telos or sole object of investigation toward an approach where art is a point of departure. Debate does not end with or is restricted by the art-object when the masterful vision of museology is disrupted. Those who have engaged in the concept of the curatorial are thus better equipped to enter into productive discussion with today's audience about what we can understand by exhibitions of contemporary art

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

These are the fees for students starting their programme in the 2022/2023 academic year.

  • Home - full-time: £TBC
  • Home - part-time: £TBC
  • International - full-time: £15820

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 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


MPhil/PhD students will participate in 6 annual seminars, oral presentation of a 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.


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


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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