This book is the most thorough publication on Johanna Billing’s work to date. My contribution to the book includes editing a large section of it entitled ‘Expanded Footnotes’ (pp. 128) with contributions from 20 curators, artists and writers, and an essay entitled ‘The Familiar Unknown’. The book was supported by: Museum Fur Gegenwartskunst Basel, Dundee Contemporary Arts, Dundee City Council, Scottish Arts Council, and Double Agents at CSM.
The collection is the summation of my research including both curatorial and written publications on Billing’s work since 2003. In 2003, I commissioned a new video work by Billing, and curated an exhibition ‘Studio Works’ at Gainsborough Studios (funded by ACE, Double Agents), including 'Works # 3' (co-edited with Helena Holmberg and Mats Stjerstedt from Index Stockholm, published by Milch, London). (See Olivia Plender in 'Frieze').
I co-ordinated Billing’s ‘You Don’t Love me Yet’ for Frieze Projects 2003, and wrote for 'Untitled' ‘Innocence Has Evaporated’.
I curated Johanna Billings works 'Magical World' (2005) and 'Another Album' (2007) at Hollybush Gardens where I am co-director. (Review: ‘Another Album’ Martin Herbert, 'Art Monthly', March 2007)There are several important contributions that this body of research has made to contemporary fine art practice. First, the book and the research from which it sprang offer a new curatorial and critical relationship with a body of artistic practice – Billing’s work - that has led to its increased institutional display and evaluation. Second, this research has contributed new understanding to the discussion in video art, specifically addressing issues around new strategies of display in video installation and the relationship between video and cinematic practice. Third, peer review and collaboration both in terms of exhibition reviews and articles, publishers, and institutional links testify to the contemporary significance of the work.