msdm a nomadic house-studio-gallery for photographic art and curatorial research, an expanded practice of the artist's book, photobook publishing and peer-to-peer collaboration created by contemporary artist paula roush



In Order and Collapse: The Lives of Archives. Ed. Gunilla Knape, Louise Wolthers, Niclas Östlind.
Published by: Photography at Valand Academy, University of Gothenburg/ Hasselblad Foundation
and Art and Theory Publishing, 2016


In E. Waeckerlé, and R. Sawdon-Smith (eds.) The Book is Alive! 2013, BookLive! Conference and Exhibitions proceedings, London South Bank University, London June 2012, published by RGAP

paula roush, Xistorias/ SchisTime, exhibition view, msdm studios at Grange Walk, London

In Eduarda Ferreira, Isabel Ventura, Luísa Rego, Manuela Tavares, Maria Antónia Pires de Almeida (Eds) Percursos Feministas: Desafiar os tempos. Lisbon: UMAR/Universidade Feminista
2015, pp 74-83 Ebook


Multitudes magazine special Issue: the art-TV clash/ Channel TV. Ed. Britta Peters at the Kunstverein Harburger Bahnhof in Hamburg, and in partnership with Halle für Kunst Lüneburg and cneai. Nov 2010.


In ISEA 2011 Istanbul Conference proceedings, Presented at the ISEA the 17th International Symposium on Electronic Art, Sabanci University, Istanbul, September 2011


in Mundos Locais Local Worlds. Eds. paula roush & Lucia Marques. Lagos: Centro Cultural de Lagos, 2008. p.74-


In Educational social software for context-aware learning: collaborative methods and human interaction. Eds Niki Lambropoulos and Margarida Romero. Hershey, PA: IGI Global. 2009

Found Photo Foundation installation

Migratory aesthetics / travelling concepts / epistemology of the nomadic place. 

In M. Miranda and D. Soter Projeto Figura-Pensão Ibérica | artistas em residência, Lisbon: Xerem, London: Triangle Arts Trust. 2010

Found Photo Foundation installation

From webcamming to social life-logging: intimate performance in the surveillant-sousveillant space. 

In Conspiracy Dwellings: Surveillance in Contemporary Art. Eds. Pam Skelton and Outi Remes. Cambridge Scholars Publishing. 2010.


Anarchitexts: Voices from the Global Digital Resistance Autonomedia 2004 



in Photographies Journal, Vol. 2 Photography and Education Special Issue and Symposium Issue.
Eds. Andrew Dewdney and Martin Lister. Taylor & Francis.  2009.


Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisboa, April 9 – June 30 2013

 The Book Dispersed exhibition, Casa das Artes Porto

In Catarina Figueiredo Cardoso & Isabel Baraona (eds) Portuguese Small Press Year Book,
Lisbon 2017


Seismopolite Journal of Art and Politics issue 3 Reimagining the political geography of “place” and “space”. May 2012


in: Catlow, R. and Garrett, G. (eds.)   Collaboration and freedom - the world of free and open source art. London  2011: Furtherfield and Arts Council England. [Online].


Variant Magazine Issue 10, Spring 2000
Supplement: The Non Place Urban Realm, South London Gallery (SLG)

Peckham, London, August 1999




Francisco Varela
The Expanded Practice of the Artist’s Book 
Immersion in The Artist’s Museum
Faculdade de Belas Artes da Universidade do Porto
January  2020

Video HD, 11m 05”, English 
AMPS: Connections– Exploring Heritage,
Architecture, Cities, Art, Media
University of Kent, Canterbury; 
29-30 June 2020
Research and Enterprise Conference
School of Arts and Creative Industries
London South Bank University
8 July 2020


How do we recognise an artist’s book when it becomes an expanded practice?
Is the same method of sourcing, research and display of materials used in books and collections alike?
Can the space where the book is made and exhibited be considered an artist’s museum?
These were my initial questions when I saw the Blackchapel book work at the msdm house-studio-gallery in London in November 2019.
Francisco Varela The Expanded Practice of the Artist’s Book Immersion in The Artist’s Museum, Video-essay

In this text I reflect on paula’s artistic practice. It is a photographic practice and takes place in different formats (or mediums), including installation and publishing. For the past five years, paula has been developing this practice in spaces that are simultaneously home, studio and gallery. It is pertinent to reflect on this live–work method as it is a singular artistic activity, articulated in a unique way with the making of artist’s books (which interests me particularly, since I am also a “maker” of artist’s books).  My intention with this reflection is to contribute to an understanding of the unique characteristics of the artist ‘s book practice. I am interested in the ways paula’s artwork is in its totality anchored in an expanded practice of the artist’s book.
Francisco Varela, The Expanded Practice of the Artist’s Book: Immersion in The Artist’s Museum, Essay

1. What is your relation with politics?
2. What did you want to be when you were young?
3. Who are the people that influenced you the most?
4. What interest you nowadays?
5. Does art have an influence on the evolution of society?
6. Which word best defines your creative activity?
7. What is for you the meaning of language? Of the word?
8. What would you take to the famous island?
9. Which are the most urgent reforms?
10. What shall happen to your work?
ProjectoMAp questions to paula roush

Hypnotic Highway is a photobook about the hypnotics crisis.
I travel regularly between London where I’m based and Lisbon, where mum lived on her own.  This time, when mum called for help, I had no idea I would be coming home to a landscape of pills and hallucinations …the Hypnotic Highway…The photos were taken between the Lisbon apartment and the hospital, witnessing the impact of Zolpidol, a prescription sleeping aid, on mum’s physical and psychological condition.
Zolpidol is another name for Ambien, a prescription drug whose devastating effects are well documented in countless case courts and press accounts.  Whilst I was looking after mum, I immersed myself in research, only to find out that her  G.P had made her dependent on the same prescription drug that killed Heath Ledger at 28 and wiped out five years of Eminem’s life  when he was in his 30s.
paula roush, Hypnotic Highway (pt) (en)

In this intensive workshop you will learn the secrets of correct paper/printer combinations and the combination of hand-made and digital techniques that paula has perfected for photobook dummies and small editions through a decade of research.
PAGE-TURNER workshop

Arquitecturas Participativas - Memória, Arquivo, Revolução Fotografia e Território
CEFT - Centro Estudos Fotografia de Tomar
(Participatory Architectures - Archive, Memory, Revolution
Photography and Territory
CEFT - Centre for Photographies Studies Tomar) 

Paradigm Store at Howick Place
3rd Dimension reviews
The Public Monuments and Sculpture Association
PMSA Magazine 23 Oct 2014

Paradigm Store
Icon Magazine 
4 November 2014

Pedro Gadanho
Operacoes SAAL,  Alvaro Siza e a Persistencia de São Victor:
Falhar, Falhar Novamente, Falhar Melhor
In O Processo SAAL: Arquitectura e Participação 1974—1976 
Fundação de Serralves, Porto 2014


The viewer is immediately drawn in to paula roush’s complex, absorbing installation, Participatory Architectures (2014) which almost acts as a cri de coeur (fig.14). This work is based on the period after the coup d’état in Portugal in the early 1970s when there was a surge of utopian building projects and creativity. Then after the economic setbacks of 2008, Portugal began selling these communes to developers, effectively for land clearance. Here, laid out dispassionately on makeshift tables that span the room, are poignant photographs, objects and memorabilia that resonate with disillusionment. roush’s bricks are a metaphor for construction /destruction and also challenge the government with rebellion. She creates individual collages of all forty-one houses on the Apeadeiro estate in southern Portugal, and with a bitter irony, wraps them in the same ribbon the government uses to fasten its official documents
3rd Dimension Magazine, Paradigm Store at Howick Place

The current show brings together new and recent work by 17 emerging and established artists that examines the blurred lines between art and design, decoration and function. The curators – Alistair Howick and Tina Sotiriadi – have taken full advantage of the vast space, spreading sculptures and installations sparsely across each floor with consideration of the architecture and consciousness of passers-by's views into the building. (...) Other works explore global themes. paula roush's Participatory Architecture, is a series of photos, documents and found objects relating to a now-threatened social housing development built in Portugal after the end of the Salazar dictatorship in the 1970s, when modernist architectural projects flourished
Icon Magazine, Paradigm Store

a l l  i n 
Andreia Alves de Oliveira
Nov 2019

paula mostly through msdm studio is a well established, leading practitioner and lecturer in the field, the author of mesmerising "photobookworks" and projects using both her own images and what she has termed "orphan images". Without too much exaggeration, paula is one of the most knowleageable and exciting photoartists working with printed matter. Here roush presents images from her series Paintball Field, juxtaposing old masks and rituals originary from the now desertified interior villages of central Portugal and contemporary forms of entertainment.
Andreia Alves de Oliverira, a l l  i n 

Jan Baetens
A Book, An Endless Love Affair Cultural Studies Leuven
10 August 2016

Erica Carter
presentation at the launch of
Order and Collapse: The lives of Archives
Personal email April 2016

[featured project: BUS-SPOTTING+A STORY]


BUS SPOTTING + A STORY, a collaborative work by paula roush (images) and Mireille Ribière (text) is a work to fall in love with. It is also the perfect example of what Borges called a book of sand – that is, a work that is apparently simple but actually infinite, since each time one reopens the book, it proves to have lost the pages one already knew while surprising the reader with new pages that she had never seen before (Borges’s book of sand is of course the symbol of what great literature should be and what it can do with a reader, but this is another discussion).
Dedicated to ‘transport enthusiasts’ and short-listed for the Photo-Text Award at Les Rencontres de la photographie Arles, the world’s most famous photo festival, BUS SPOTTING + A STORY is generically defined by the authors as a ‘photo-essay’. 
Jan Baetens A Book, An Endless Love Affair 

Conjunction Event: ​
Print in the age of DIY & Publishing as Artistic Practice
The Fish Factory, Penryn and CMR Project Space, Redruth
organised by Alice Mahoney and Rose Hatcher. 


Artistic practice, visual research, image archives, and publishing are some of the medium debated in this event:
How do we find ways to bring the productive chaos of artistic practice into the apparently seamless order of the artist’s book?
How do we develop a visual language that communicates page after page the content and materiality of artistic research?
paula roush, ​Publishing as Artistic Practice

Doreen Mende
Radio as Exhibition Space
in Heidi Grundmann et al. (eds.)
Re-Inventing Radio Aspects of Radio as Art
Revolver 2008

Axel Stockburger
Beyond Sound Art
Ear Appeal exhibition at Kunsthalle Exnergasse 
dérive N ° 27 (Apr - June / 2007) 

- a focus of the exhibition of the same name in
the Kunsthalle Exnergasse , Vienna
November 1 2006

[featured project: PROTEST ACADEMY] 


Both paula roush/msdm (mobile strategies of display & mediation) and the Ultra-red group (for EAR APPEAL, Dont Rhine and Manuela Bojadˇzijev) used the Kunsthalle as a meeting place and discussion venue. Generally speaking, radio took on the role of postproduction as well as that of publication and distribution.
After periods in London and Leipzig, London artist paula roush localized her Protest Academy in the show in Vienna as a vital structure for cooperation, exchange, education, and information-gathering about audio tactics that articulate social or political resistance.

When does sound become information and protest?
As the setting for a workshop and as an installation in the exhibition, visitors had access to the protest archive begun in London in 2005 containing newspaper articles, CDs with songs of protest and peace, an opera libretto, theoretical text by Toni Negri and Gilles Deleuze, and a variety of projects and documentation by artists including Oliver Ressler, Temporary Services, and Melanie Jackson.
Doreen Mende, Radio as Exhibition Space

Meg Beaumont
nothing to undo 
Kaleid Editions
Sunday Reading #004 April 2016

Maria Jose Prada Rodriguez
El libro en abismo. Relaciones y transferencias entre imagen
y dispositivo en el libro de artista. 
Doctoral thesis.
Programa de Doctorado en Arte Contemporaneo,
Creacion e Investigacion
Facultad de Bellas Artes,  Universidad de Vigo. 2017.
Repositorio Internacional da Universidade de Vigo
January 2018

Maria Caudia Bada
To leave is a bit like dying
Comments on nothing to undo 


The book cover’s undulating image of seaweed washed-up along Malmo’s harbour leads the reader through a meandering and self-directed path. “The reader has the option of turning the pages to move back and forth, approaching the narrative’s timeline from different angles and directions. In its materiality, in the folding and unfolding, the book places the reader in a multi-view point, presenting an alternative perspective to the historically singular ‘national gaze’.”
“I am increasingly convinced that the photobook is less and less about traditional conventions of photography and more and more about the materiality acquired by photography when it crosses the threshold of the book with its micro-politics of reproducibility, affordability and portability.”
As well as being a book about photography, and memory, and migration, nothing to undo is also a book about photobooks and artists’ books and the divides and similarities between them. 
Meg Beaumont, Nothing to undo

En el libro de artista, soporte y contenido son recíprocamente necesarios, no pueden existir uno sin el otro sin alterar el significado, y de hecho muchas veces es un significado que se asienta en el propio formato del libro. Sin embargo, uno y otro campo tienen espacios compartidos, y hay artistas y editores que proponen, desde el fotolibro, una mirada a todo lo que rodea a la fotografía “empezando por la forma libro, cuyas características tradicionalmente reconocibles —el códice, la doble página, los elementos textuales y paratextuales (índice, colofón, tabla de materias, etc.)— actúan de forma conjunta para respaldar una concepción expandida del arte fotográfico.” (paula roush en la documentacion para el taller photobookwork: photography, the book and self-publishing, que realiza durante la lisbon’s photobook fair.)
En Nothing to undo (Kaleid, 2015) paula roush investiga la ontología del fotolibro de artista: ‘emerging object’ at the intersection of artist’s book (affordable, self-published work with the artist in full control of conceptual and editorial strategies) and the photobook (with its immersive exploration of printed photography in the space of the book).
Maria Jose Prada Rodriguez, El libro en abismo.Relaciones y transferencias entre imagen y dispositivo en el libro de artista. 

Tanja Verlak
Excavation Thrill
In conversation paula roush and Tanja Verlak 

Nowiswere Contemporary Art Magazine issue 12

[featured projects: BOWVILLE / SOS-OK/


Critics attribute your work to an interesting research category, namely “the urbanization of art practice”. Could you elaborate on this? What does urbanization of art mean to you and what would you define as its antidote? Is it connected to the very means of technology? How do you apply the notion of ‘urban’?
p. r.: The ‘urban’ here relates to the relation of the work of art, to the realm of sociality and their contexts beyond the confines of representation. Bourriaud, when defining ‘relational aesthetics’, took this urbanization of artistic experience to read cities as sites of encounter between people and the artwork. I am interested in these urban interstices in more than one way. I am interested in art that produces sociability and promotes encounter. When I created an emergency biscuit distribution platform at the Coleman Project Space gallery for SOS:OK, the piece addressed the history of the site (a former biscuit shop) as well as the recent history of the area, formerly known as Biscuit Town. I worked with former employees of the Biscuit factory (now unemployed due to the factory’s closure) paying them from the money I received from art funding; we produced a new biscuit for the area. People came to the gallery for free tea and biscuits. When we distributed biscuits and the publications for free in the streets, art was being inserted into the social and urban fabric.
Tanja Verlak, Excavation Thrill

in collaboration with ICVL Studio, an afternoon of talks dealing with contemporary photobook practices and publishing

Mairia Evripidou & Jacqui McIntosh 
Connecting Worlds  exhibition 2013

Eva Schmidt
Foreword & Acknowledgements
Dear Aby Warburg, what can be done with images?
Dealing with Photographic Material
Museum für Gegenwartskunst Siegen, 2012

Ludwig Seyfarth
Space for thinking between the images:
on the genesis of the ‘photographic collection’
as an artistic genre.
Dear Aby Warburg, what can be done with images?
Dealing with Photographic
Material Museum für Gegenwartskunst Siegen, 2012

Tanja Verlak
An attempt at exhausting an archive /
Found Photo Foundation. 
Dear Aby Warburg, what can be done with images?
Dealing with Photographic Material
Museum für Gegenwartskunst Siegen, 2012

Christina Natlacen
Lieber Aby Warburg, was tun mit Bildern?
Vom Umgang mit fotografischem Material,
Museum für Gegenwartskunst,
Siegen Camera Austria 121, 2013

Noemi Smolik 
Album Art 
Aperture reviews, March 12th 2013

Katrina Sluis
Born in 1987: The Animated GIF
Digital Programme on the Media Wall
The Photographer's Gallery

[featured project: FOUND PHOTO FOUNDATION]



The works of paula roush engage notions of history, authorship and collective memory, related in particular, to the Portuguese dictatorship era.  Her Found Photo Foundation includes personal snapshots of government officials, family life and bureaucratic worker identity cards that unearth a period of collective amnesia and censorship that lasted until 1974.  In the People series, Frank Pudney depicts movements of crowds that share a common experience. He examines and tries to understand individuals’ experiences of the world, yet pulls back and sees them also as part of a larger social world. Reflecting on the limits of and tensions between individualism and collectivism, the works challenge the way we see ourselves and suggest that how we interact with others shapes and formulates our experience of society.
Mairia Evripidou & Jacqui McIntosh, Connecting Worlds

How can photographic images thought lost – due to a lack of place or name- be re-found and made to speak to us again? The significance of a photographic image does not lie in the image itself; the decisive aspects are its context and actualisation as material object. Every work in the exhibition makes this obvious. Although all the works named implicitly formulate the part of the viewer, the ‘user’ through their openness and temporary nature, in paula roush’s work strategies of participation are foregounded. She tracks down photos that have become homeless. roush calls them ‘orphans’ which can be found at flea markets or in junk shops. She invites others to ‘adopt’ these ‘orphans’ in their own configurations.
Eva Schmidt, Foreword & Acknowledgements

The question 'What is to be done with images?' is also a question about the relationship between the archive and the presentation- the atlas, the tableau, the display. Does the archive in question represent a limited body of material, for example, the glass negatives exposed in a photo studio during the 1930s and 1940s and purchased by Cecile Hummel from a street vendor in southern Italy, or the images that paula roush gathered at portuguese flea markets and garage sales to archive in her Found Photo Foundation? It is ususally impossible to trace the provenance of these photographs which roush refers to as 'orphans'. they have become homeless, but nonetheless tell something like a private subterranean history of the time spent under a dictatorship..
Ludwig Seyfarth,  Space for thinking between the images: on the genesis of the ‘photographic collection’ as an artistic genre

The Found Photo Foundation/FPF, under the patronage of paula roush, deals with visuals suitably named ‘orphan photographs’ and explores this very possibility of walking the line between temporal and spatial domains, where the empirical and the surreal grow surprisingly close. The FPF can also be read as an artistic experiment of twisting the document value of an archive beyond its proverbial linearity of causes and consequences. As the connection to the real is often lost, the project is above all a platform of invented spaces that suggests taxonomical methods of artistic research deep into generations and the unknown.
Tanja Verlak, An attempt at exhausting an archive/Found Photo Foundation. 




(...) like the artists’ studios analysed by Jenny Sjöholm (11) my studio can be seen as an experimental archive in itself, with all types of collected objects being taken out and incorporated into installations set-ups, silkscreen prints, photozines and other practices that translate the contents of the storage boxes into new patterns that further loose its connection to its original site of production. Thus, not surprisingly, it is frequently impossible to identify the provenance of the photographs on display in any of my installations.
paula roush, Chaos of Memories: Surviving Archives and the Ruins of History According to the Found Photo Foundation

the gentle author
East End Women Photographers
Spitalfields Life February 24, 2020

Francisco Varela
The Expanded Practice of the Artist’s Book 
Immersion in The Artist’s Museum
Faculdade de Belas Artes da Universidade do Porto
January  2020

[featured project: BLACKCHAPEL]

Sally Farhat and Mai Al Khouri
LAU begins discussion on regional design archiving
April 6, 2019

Marwan El Tibi

paula roush fait revivre les archives du journal Al-Yom
Al Ayam Magazine, October 2015

Hala Tawil 
paula roush residency with the Arab Image Foundation
Report to the Arab Image Foundation
Beirut 2015

[featured project: TORN, FOLDED, CURLED] 


While Middle Eastern art and architecture studies have proliferated as areas of scholarly investigation and discussion, perspectives on graphic design and visual communication of the Arab Middle East remains a greatly untapped area of examination. Challenges reside and particularly extend from archives or the lack thereof. How can one write a history of the development of graphic design with the limited archival documents? Is there a particular research method for writing graphic design history in the region? These are a few questions that are addressed at the The Archive: Visual Culture in the Middle East symposium.
The Archive: Visual Culture In The Middle East Symposium.

It is a work of precision, the artist photographer paula roush accomplished with Antoine Sfeir of Plan BEY and the Arab Image Foundation to present us "Torn, Folded, Curled", the exhibition which was held from September 23 to 26, 2015 at Makan in Beirut.
A short history of unrecoverable photos ...
"Torn, Folded, Curled" is the status given to unrecoverable pictures. Those which can neither restore or scan. The only way to keep them is to photograph, explains paula roush, photographer artist, researcher and teacher at the London South Bank University.
It was by pure chance that paula had the opportunity to work on a small part of the photo archives of the Journal Al-Yom, abandoned after a long journey through the history of the civil war in Lebanon. For these photos, from archives impeccably kept by Al-Yom house founded in 1937 by Afif El Tibi, there was no indication the first trauma when the site of  the Al-Yom newspaper was dynamited in 1975. Those who were saved found themselves stored in a West Beirut apartment, who also had its share of misery when in 1989 during the war of "liberation", an incendiary shell came violently to disperse their ranks.
Marwan El Tibi, paula roush fait revivre les archives du journal Al-Yom

Through roush’s work we understand the process of researching a photographic collection as a subtle negotiation of understandings. It is seen as the practice of acquiring and documenting photographs, the dialogue between digital and analog formats, the controlled environment of preservation, as well as conversations, accidents, and mere chance encounters within the space housing the collection.
Hala Tawil, paula roush residency with the Arab Image Foundation

Launch of infinite multiple,
an online platform selling unlimited editions, Aug 11 2017


super-private: artist’s talk
A talk by paula roush
The Arab Image Foundation
July 2nd 2015

[featured project: SUPER-PRIVATE]



infinite multiple is a new model for making and buying contemporary art; an online platform selling unlimited editions at accessible prices. Developed and managed by a London-based collective of artists and curators, the vision of infinite multiple is to widen the scope for owning and collecting art. The first set of 30 exclusive unlimited editions by 20 emerging and established artists is launched online at on 1st September, accompanied by an exhibition at Carroll / Fletcher in London.
The works for sale span the breadth of contemporary art in the post-internet age, from the overtly political to the wittily observational and the gently anarchic. Forms range from sculptures, objects and digital prints to a bookwork, woodcut and wearable artworks including Santiago Sierra’s NO armband from his NO global tour and Lizzie Hughes’ scarf printed with satellite images of Californian donutting tracks. Other works include Thompson & Craighead’s circumnavigational white plate presenting a drawn arrow with the words ‘HERE, 24,859 miles’, Marcia Farquhar’s grey painted souvenirs and David Cotterell’s lenticular print, playing with notions of distance with imagery from his time as a war artist in Afghanistan.Bookwork of images from a found collection of photographs from secret and illicit encounters of a Lebanese banker during the 30’s and 40’s by paula roush., Launch of infinite multiple, an online platform selling unlimited editions

The process of researching a photographic collection is a subtle negotiation of understandings: the practice of acquiring and documenting photographs, the dialogue between digital and analogue format, the controlled environment of preservation, as well as conversation, accidents and mere chance encounters confronted with and within the space housing the collection.
SUPER-PRIVATE : Artist's talk

Alejandro Acin & Isaac Blease
Activating the Archive
PH museum Photographic Museum of Humanity July 24- Sept 24 2018

paula roush
Membrana Magazine Vol. 2, no. 2 2017 Cabinet Issue
Online: April 1, 202

[featured project: SEX'N'DATABASE ]



Activating the Archive presents the work of 10 artists that explore and question the malleable nature of visual archives and the many ways that they can be activated through contemporary practices. Archives hold the promise of continual exploration, however, before embarking on this quest we must first understand them as places for construction rather than sites of excavation. Perhaps this notion of potentiality is the reactive force guiding artists around the often-hampering hand of official archival procedures. Within this exhibition the work of 10 artists highlight the malleable nature of visual archives, and the many ways that they can be activated through contemporary practices.
Themes such as, preservation, restoration, and organization, are usually central to discussions around the archive, yet the works displayed here attest to the equal importance of creativity and the freedom of use. Despite sharing an archival underpinning, these works are all strongly unique, and detail the myriad of ways that this material can approach universal subjects through artistic intervention. In turn, our understandings of photographs, why they are archived, and ultimately how they can be used is further expanded.
Alejandro Acin & Isaac Blease, Activating the Archive

Enric Mas/ Jo Milne
PRINTed #4 Singular publications
EINA  Centre Universitari de Disseny i Art
UAB Autonomous University of Barcelona
April 2018

paula roush
conversation between paula roush and Amy Warwick
On the occasion of the exhibition Blame your parents 
[a photozine of post-teenage years]
ə-books #3 zine 
ə-books project space for photobook publishing
September 14th- October 12th 2016

paula roush
conversation between paula roush, Martin Toft and Gareth Syvret
On the occasion of the exhibition Atlantus A transoceanic photography project
ə-books #2 zine
ə-books project space for photobook publishing
June 28th- August 28th 2016

paula roush
conversation between paula roush and Lara Gonzalez
On the occasion of the exhibition made and published 
[ProCreate Project]
ə-books #1 zine
ə-books project space for photobook publishing
May 25th- June 24th 2016

[featured project: ə/uh/-BOOKS PROJECT SPACE ]



I love the aspect of the photobook, especially zines. They’re so cheap to make, I used cheap film from a poundshop, cheap paper. It’s a really cheap way of getting your photos out there.

Almost all of the photos in the zine were shot in Brentwood, Essex. It’s different to how Essex is portrayed and it’s different to the stereotype that Essex has. I didn’t specifically have the location in mind while shooting though, more youth culture. You can look at the zine and it could be any British town. The content is something that most young people can relate to, everyone kind of does the same thing when they’re young, no matter where they are from.

I really struggled with the sequencing of the book, so I just put it together with the photos in chronological order. The photos were in order of the times they were shot and I tried to stick to that as much as I could, and then rearranged it in a way that I thought looked more pleasing. I wanted to have it in order so that I could look through it and the photos were in the order that the events happened. I rearranged it in a way that it wouldn’t seem too repetitive.

In terms of self-publishing, I’ve just advertised the zine mostly on social media. I follow a lot of people who make zines and do this sort of thing, so there’s already an audience there. I want to get in touch with bookshops and try my luck there. I definitely want to try and get it out there.
Presentation by Amy Warwick at the Photobook Pop-Up

MT - As research developed and images were produced it became clear that we wanted to focus on telling a series of stories that would communicate in text and images different aspect of a shared heritage. In addition we had from the outset discussed the idea of producing a newspaper in different sections with our designer Kummer and Herrman. The exact number of 5 stories only really became apparent through editing the visual material. A dummy was created in February 2015 with the assistance of my old mentor and good artist friend Finn Larsen. We spent a week organizing images into sections with subheadings such as The Atlantic World, Precious Galinthia, The Transoceanic Journey etc.  After further editing in collaboration with Kummer & Herrman and considering design possibilities of a 64, 80 or 96 page newspaper we settled on five sections each comprising 16 pages to communicate a narrative. Gareth wrote the accompanying texts after the 5 narrative strands and images had been decided upon.
Conversation between paula roush, Martin Toft and Gareth Syvret

lg - My publishing activity came out of working with the book as a medium. When I did my first book I saw the creation of an imprint as an ironical gesture, so I assumed the identity of made and published press. Then I realized that as an artist I wanted something more interesting for an online presence and expanded on the use of made and published: it is very simple, unpretentious, and I coudnt steal yours (laughs), I really like your imprint (mobile strategies of display and mediation)... I looked for synonymous but coudnt find any…so ended up with made and published.
Conversation between paula roush and lara gonzalez

Louise Wolthers 
Watching Europe and Beyond: 
Survellance Art and Photography in the New Millenium, 
Watched! Surveillance, Art and Photography
Exhibition and publication project by Louise Wolthers
Hasselblad Foundation, C/O Berlin, Galleri Image,
Kunsthal Harhus, Valand Academi
Verlag der Buchhandlung Walther Konig

Regine Debatty
Orwellian projects
September 2006

Sara Raza 
Art in Security and Security in Art 
KISSS Kinship International Strategy
on Surveillance and Suppression, 2005

Suhjung Hur, Annie On Ni Wan, Andrew Paterson 
Locative Media, on and off the beaten track 
LEA Locative Media Gallery, 2006

Hattie Spires 
The Crisis of Interpretation:
An Investigation Into The Dynamics of Engagement with
Site- Specific Art in the Age Of Squanto
Goldsmiths College (Dissertation, MA In Contemporary Art Theory) 
September 2004.
msdm Stenciled Papers, Date of Issue: January 2005

Sara Raza 
Performance: Strategy And Process in The Work Of Adrian Piper, Lida Abdul,
Sussan Dyhim, Reza Aramesh and paula roush. 
Notes for the Presentation Delivered at Artsadmin November 2004

[featured project: BOWVILLE]



History is full of examples of the surveillance, scrutiny, persecution, and involuntary exposure of ethnic and sexual minorities specifically and women in general. This continues in the present, now with the use of new, overlapping technologies for tagging, tracking and mapping.
British sufragettes, who fought for women’s right to vote in the early twentieth century, were regarded as revolutionary subversives and many of them were placed under surveillance, arrested and forcibly photographed by the police. Evelyn Manesta is one such example. She resisted being photographed by moving her head and body so much that a prison guard had to restrain her by the neck. This is the story paula roush reminds us of in her performance work Bowville whose main character – Marion Manesta Forrester – is named after three sufragettes. The work unites the past and the present as Marion Manesta Forrester is electronically tagged using a method tested by the British Home Office and developed by major UK security companies. She has three days to earn her citizenship of the fictional Bowvile. In roush’s work, the literal long arm of the law, which was erased from the ID photograph of Evelyn Manesta taken by the police, is symbolically represented by the tagging device around Marion Manesta Forrester’s neck. Punishment control ad biopolitics are thus united in automated technologies, which, whilst they might be new, are clearly historically rooted in police photography and registration by the authorities to marginalize undesirables and new arrivals.
Louise Wolthers, Watching Europe and Beyond: Survellance, Art and Photography in the New Millenium

In August 2004, paula roush --author of the Arphid Recordings performances in London-- got herself electronically tagged. She created a semi fictional alter-ego Marion Manesta Forrester, who was electronically tagged and given a period of three days to earn her citizenship to Bowville, a fictional urban cityscape whose inhabitants were invited to follow her movements and vote for or against the protagonist. Roush chose the name Marion Manesta Forrester, as a partial homage to the suffragettes- the first women to undergo and rebel against photographic surveillance, the work is also a partial reaction to the announcement of electronic tagging for asylum seekers in the UK, and a reference to Lars Von Triers' Dogville.

Regine Debatty, Orwellian projects 

 International artists such as Bangladeshi-American Hasan Elahi and London based Portuguese artist paula roush have been pushing the boundaries between fixed definitions of technology and art by creating tracking/ tagging devices, that bear an uncanny resemblance to the mandatory “bracelets” worn by high risk criminals or those on parole so that law enforcement officers can keep track of their whereabouts.
(…) roush has created a semi fictional alter-ego Marion Manesta Forrester, who first surfaced at London’s Bow Festival in 2004. Manesta Forrester was electronically tagged and was given a period of three days to earn her citizenship to Bowville. Bowville functioned as a fictional urban cityscape whose inhabitants were actively invited to partake in the countdown by voting for or against the protagonist. The networked performance undoubtedly resembled the reality television show “Big Brother,” which created quite an addictive storm in the UK, where 10 housemates lived in the same house and members of the public weekly eliminated a member until there was only one: the winner. Simultaneously, the piece also referred to the real and actual notion of elimination and in-voluntary deportation of immigrants, asylum seekers and political refugees. Furthermore, the fact that the performance was staged for an urban setting additionally gave voice to the city as a site of investigation, which is an on going theme interwoven into roush’s practice whereby, she actively works with the dual concept of politics and public space. 
Sara Raza, Art in Security and Security in Art 

(…) The participatory and collaborative aspects of locative media foreground participants’ site-specific experience in local context, while encouraging them to be performers within the activity. Through their practices of walking, listening, conversation, game-playing, or living an everyday life, an individual partakes in different roles: gardener, composer, choreographer, cartographer, walker, tattooist, spectator, data-collector, storyteller, decision-maker, archaeologist, explorer; Or, simply but importantly, just an other within public environment. (...) Complex and ethical questions also arise. How do these technologies invite participation? Will the technologies be a 'restrictive collar around the neck' as in roush's Bowville, which control accessibility and communal decision-making process? Then, where and who is the community voice?
Suhjung Hur, Annie On Ni Wan, Andrew Paterson, Locative Media, on and off the beaten track 

In an extremely timely and important intervention that took place in August 2004, the artist paula roush (msdm) set forth a proposition into the ‘real space’ of the community of Bow in East London through her project Bowville.  The Bowville Investigation Bureau, set up in a disused shop on Roman Road market, served as the surveillance centre from which the Bureau could track and monitor the movements of the protagonist Marion Manesta Forresta. Pointing back to the suffragette movement, Marion’s name is a bastardisation of three members of the suffragette movement, some of whom were the first people to undergo surveillance. Considered by the local authorities for her affiliation with left wing organisations, most notably Eastopia, Marion was given the chance to earn her right to stay in Bowville without surveillance through winning the public vote. Using global satellite positioning technology, the Bureau was able to track her movements through the streets of Bowville and enforce border restrictions on her whilst she developed an increasing presence and identity with the local community in which she tried to earn her citizenship. A wireless camera fed live footage of her actions back to the Bureau where continuous research into current global acts of terror took place.
Hattie Spires, The Crisis of Interpretation:  An Investigation Into The Dynamics of Engagement with Site- Specific Art in the Age Of Squanto

Who are you: msdm studio
Artist's Book Centre
Nov 2019

Rob Mcdonald 
All Inked up, Kentʼs International
Artist Book & Print Event,
UCA Canterbury & The Brewery Tap
Folkestone 13 Oct – 9 Nov 2017

[featured project: msdm PUBLICATIONS]


Wayne Burrows
Backlit Gallery meets Nottingham Writers' Studio:
When writing and visual arts meet, magic can happen
9 April, 2018

Luisa Soares de Oliveira
Mulheres fatais e outras que tais
Fatal women and others as such: 
A visit to the surrealist museum through collage 
Ipsilon Publico Magazine 23 August 2013
[portuguese] [english]

Celso Martins
Colagem e Colisao
Collage and  collision
An artistic collaboration around the dances
and counterdances of gender, retrieves collage 
as a mode of associating images 
Expresso Atual Magazine,  22 June 2013 

Cristina Duarte
a journal of one’s own, a text dedicated to mary,
margaret,valentine, alice,paula, maria and all the other women

In Queer Paper Gardens, Vol. V
Fundacao EDP 2013

João Pinharanda
Minar o Mundo Circundante / Undermining the Surrounding World, 
Curator's statement for the exhibition Queer Paper Gardens
Museum of Electricity Lisbon 2013

paula roush & maria lusitano
I. Queer paper gardens or the Wildlife of symbols:Les deux amies /
The two girlfriends (Gifts of the Feminine); II. The mise-en-scéne of
the unconscious (A Week of Goodness); III. The photoalbum in the
drawing room (cardomania), the album of Madame B.;
IV.  The paper mosaick (Female cruising in the garden). 
In Queer Paper Gardens: Roman
Fundação EDP 2013

[featured project: QUEER PAPER GARDENS]



A good example of a work in which art criticism becomes art in its own right, Queer Paper Gardens, or The Wildlife of Symbols – a collaboration between the Portuguese artists paula roush & Maria Lusitano – explores the history of collage through the work of its female practitioners, from Mary Delany’s scientifically precise cut-paper botanical illustrations of the 1700s to Valentine Penrose’s surrealist Dons De Femininesmade in 1951. The beautifully produced five volume publication borrows its format from a 1934 edition of Max Ernst’s collage novel Une Semaine De Bonte, but uses the artists’ own collaborative photography, collage and drawing to highlight a less familiar path through the history and meaning of the medium itself.
Wayne Burrows, When writing and visual arts meet, magic can happen

The project does not claim its belongings to a movement that had its epoch and its context, and is today irretrievable. Lusitano and roush know that. Their proposal is a different one: to update the freedom of artistic creation and practiced by Ernst and Penrose, a freedom that passed also by the choice of a technique that did not belong to the illustrious painting or sculpture. Moreover, the book as a means of artistic diffusion was also far from the weight of the museum or the art gallery. Interestingly, in market terms, things have not changed that much in the almost hundred years that separate us from Max Ernst; neither the work on paper, nor the video art or the artist’s book, reach the price values of other techniques. What has really changed, or at least has started to change significantly, is the status of women, and the increasing distance that separates us women from the original images that inspired the artists.
Luisa Soares de Oliveira, Fatal women and others as such: A visit to the surrealist museum through collage

In fact, it is an intricate installation that combines and intertwines countless ingredients (drawing, collage, photography, furniture, objects , video , etc. ) but, in effect, what makes it complex is not so much the profusion of materials used but the logic overseeeing it.
In the centre of this tension we find two works: "Une Semaine de Bonté," a book in seven chapters edited by surrealist Max Ernst in 1934, and "Dons des Féminines," composed in 1951 by surrealist poet Valentine Boué Penrose in response, through the same means of collage, to Ernst’s book. But if Ernst associated a set of images where the feminine element was consecutively subjected to violent abuse by men or monstrous beings that were clearly male, Penrose’s implicit answer generates a pattern of the feminine placed outside the domestic space, open to travel and the unknown, and that is, on the contrary, an image of power and emancipation.
Without ever getting entangled in the ease of an obvious feminist rhetoric, "Queer Paper Gardens'' is organized around this tension that infects each of the seven steps of installation (an allusion to the seven days of the week used by Ernst). The result is not just a revisitation of collage’s creative device associated with Dada and Surrealism as an experiment dated and historically situated, but a reflection on the survival of that mechanism in the contemporary. Firstly, we need to say that the installation itself works like a huge collage, if we think that it associates different nuclei that in this association never lose its integrity. Additionally because, as in collage, the creative process herein tends to converge references that appear to come out of watertight worlds but which are able to meet and generate sense.
Celso Martins, Collage and collision An artistic collaboration around the dances and counterdances of gender, retrieves collage as a mode of associating images

maria and paula’s film is in itself a journey about several lives, narrated through a visual history with a lyricism of its own, just as valentine’s own book. The film’s voice-over provided by artist marie josianne agossou, interprets a narration that summons the lives of various women, and the representations of these through the arts in context. valentine and mary delany are evoked as well various other women, exalted in this work of archive, composition and feminist script. we peek here at a certain cinema paradiso, at the service of the arts, through the chosen excerpts of films such as rebecca, the hunger, jane eyre, and daughters of darkness. this put us in tune with the themes approached by the artists in their video-collage, that refer to the cut-up, as well as to photography and drawing, in a narrative strategy that projects issues of gender, body representation, and the role -play involved in women’s performance throughout history. and it conjures the horror women were (and are) subjected to: the horror is displayed in jane eyre, in the bad girl of sleeping beauty, or in the madness of rebecca’s housekeeper.
Cristina Duarte, a journal of one’s own

paula roush, has lived in London for two decades, situates her work in the field of artist's books recovering the techniques of surrealist and pre-surrealist collage, enriching, with this cross-language, the universe of feminist intervention that guides her. It is they who prolong Penrose's dialogue with Ernst, deepening its languages ​​and themes, reviewing it critically, signaling the political place of contemporary feminist question, including us as a global and not merely an individual entity.
The narrative and seductive fluency of the video (built in the same way as the collage) or the invitation to the formation of the spectators  in creative work sessions are essential pieces of continuity and renewal of the initial legacy. Leading us to "the pure working of thought" (André Breton) and the "systematic estrangement" of the Self, but without the illusion that this dream-field, this "alchemy of the visual image" (Max Ernst) is something that exists outside the History, ideology or position of the genres, wish to give a new meaning to Breton's program by presenting the first collages of Ernst in 1921: "to use the surrounding world to undermine the surrounding world."
João Pinharanda, Undermining the Surrounding World

Unstable Media (paula roush, Margarida
Carvalho, Ana Carvalho & Sofia Ponte)
Unstable Media, constructions and disruptions.

In Portuguese Small Press Yearbook 2017 
Catarina Figueiredo Cardoso & Isabel Baraona (eds)
Portuguee Small Press Year Book, Lisbon 2017

[featured project: THE BOOK DISPERSED/



Tadej Pogacar 
Public Services Catalogue
Public Services exhibition 
PavelHaus, October 2005

Zeigam Azizov
Memory Factory
at Coleman Project Space
Published in SOS:OK guide
msdm publications 2004

Joanna Callaghan 
Go on! Have another one! 
True Review, December 2004

Will Pavia
Taking the biscuit
Southwark Weekender
15 oct 2004

Heather Greig-Smith 
Operation SOS:OK, Bermondsey, South London. 
Regeneration & Renewal, 5 November 2004, p8

Annie Kelly 
Bermondsey takes the biscuit Former Peek Frean
employees back community project 
The Guardian, Wednesday October 20, 2004

Alice Park 
Current perspectives on the role of art in urban
Do artistic interventions benefit a community?
Art in Community Settings,
Birkbeck College, University of London 2004,
Published in SOS:OK guide, msdm publications 2004

Jaka Jeleznikar
interview with paula roush about ‘exercise sos:ok’
at gallery 74,
Mladina, Ljubljana, September- October 2004

Boris Gorupic 
paula roush/ B&B deloskop 9.9-15.9.04

Tadeja Milek 
preview segment on exercise sos:ok 
Val 202 (Slovenia FM Radio) 06.09.04

[featured project: SOS:0K]


paula roush's new project set up in Coleman Project Space, in Bermondsey London (...) consists in 'building a new memory factory in place of the former Peek Frean's Biscuit Factory, announced as 'a reopening of the factory for one week only as a memory factory' in order 'to investigate the utopian potential of placing the discourse on globalisation of memory at the intersection of tourism, urban renewal and cultural property rights'. The project carefully investigates the factory's history and establishes with the later generation of factory workers, who participated in the workshops in order to license their memories under special conditions, since the memory factory is open as a bureau for memory work.`
Zeigam Azizov, Memory Factory at Coleman Project Space, SOS:OK guide

Bermondsey, in south-east London, was once affectionately known as Biscuit Town. Home to some of the largest biscuit factories in the country, it provided employment to generations of local families.
Now it's a very different story. The biscuit factories have closed, and many of their former employees are unemployed. The only businesses that come into Bermondsey now are the large property developers buying up old factories and turning them into gated residences for well-paid workers at nearby Canary Wharf.
But a group of former employees of the Peek Freen biscuit factory, one of the last to close its doors, in 1989, have reunited to give Biscuit Town a new lease of life. They were brought together by artist paula roush, who has won Arts Council funding to launch SOS:UK, a community project that explores the local heritage of deprived communities. roush invited ex-workers back to Peek Freen and has run a series of events celebrating the history of Biscuit Town. This weekend, the factory is hosting a mock emergency food distribution.
Annie Kelly, Bermondsey takes the biscuit Former Peek Frean employees back community

project, The Guardian, Society supplement


Former workers from former Peek Freans Factory gathered at a Bermondsey art gallery last week to do their bit for the international state of emergency (..) The gallery is distributing food aid in the form of nutritional biscuits, cooked to a specially designated recipe, to visitors to the gallery and on the streets of Bermondsey. The exercise is partly a reference to a relief operation of 1870 during the Franco-Prussian war. When the prussians lifted their siege of Paris, Peek Freans supplied thousands of biscuits to the starving citizens.
Earlier this summer, artist paula roush organised a 'Memory Factory' gathering archive material and calling on former Peek Frean workers to come to contribute their memories of Biscuit Town. Her new exhibition is also a response to the hunger crisis which she believes comprises the real international emergency (...)
Crates of biscuits are being distributed by horse and cart on Tower Bridge Road and on the Blue (...)
Will Pavia, Taking the biscuit, Southwark Weekender


paula roush
XisTempo. Tempo que ja foi tempo:
um preambulo em dois capitulos 

In Eduarda Ferreira, Isabel Ventura,
Luísa Rego, Manuela Tavares,
Maria Antónia Pires de Almeida (Eds)
Percursos Feministas: Desafiar os tempos.
Lisbon: UMAR/Universidade Feminista
2015, pp 74-83

paula roush
Time that has already been time

Seminar The Uses of Time
Feminist University
Lisbon December 18, 2013.

Xistorias: Performance digital nas aldeias do Xisto

- A Beira Serra em streaming direto
O Varzeense
October  30 2013

Manuela Ventura
"Xistorias" apresenta historias
das aldeias serranas de Gois

Diario de Coimbra
October  30 2013

[featured project: XISTORIAS]


Timo Arnall
Touch>Bruce Sterling at ‘How I learned to love RFID’
June 2006

Regine Debatty
Arphid sound performances in the metro. April 2006

arphield recordings by paula roush
Glowlab Issue 11! November 20, 2006

Anthony Alexander 
Of RFIDs and Arphids: The logistics of the Future 
Mute magazine, June 2006

Armin Medosch 
The Spychip Under Your Skin:
RFID and the Tagged exhibition 
Space Media Arts, October 2006

Regine Debatty 
New Brave World workshop at iMAL: RFID and art. 
we-make-money-not-art, March 2008

[featured project: ARPHIELD RECORDINGS]




Ann Demeester, Lawrence Perrillat, Mircea Cantor
Global Tour: Art Travel & Beyond
An exhibition based on research and
a concept by Amiel Grumberg.
W139 Amsterdam

Rael Artel
Artists In Fieldwork: Anu Vahtra, Jaanus Samma,
paula roush, Pilvi Takala. 
Maja Estonian Architectural Review,
Landscapes Issue, May 2006, p 39-43.

Louise Garrett 
Infiltrate Estonia: SPACE PROTOCOL 
Rael Artel Gallery, Parnu, Estonia 2005

[featured project: MUD D'ARTISTE]



The idea of a summer resort and its current reality was the main topic of the London-based Portuguese artist paula roush's work "Mud d'artiste." It consistsof three parts: two glass jars with leftover mud gathered from the artist's body and provided with labels clearly paraphrasing Piero Manzoni's work of 1961. The second part is a video with two parallel shots showing the artist enjoying a mud bath and the exhibits of the display of the wax figures that used to take place at the same place. The third part is the webcast of the artist dancing in front of the tourist office in the main street, in front of the Parnu weather camera. In all the parts the artist had masked her head and face with mud,  leaving out only the eyes .Attempting to baste the meanings, we might assume that the criminalised artist in mud mask- an allusion to a terrorrist- is commenting upon traditional curative attractions, "cultural undertakings" (waxwork exhibition) directed at mass audiences and the web-based surveillance system.
The artist's working methods deserve special attention as well. paula's speed of reaction was amazing - the artist, working with experimental public art and issues of urban space, generated her project based on her experience in Parnu within  few days. paula's strategy is simple: she moves around with open eyes and mind through different layers of urban space, notices and picks up meaningful objects, telling human relations and unique behavioural patterns, and joins them together into one work with several ideas still loose. Incidentally, "Mud d'Artiste" created in Parnu was also displayed at tourism related exhibition "Global Tour" at W139 in Amsterdam.

Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, paula roush, Pilvi Takala. 

Emília Tavares and paula roush
hetero q.b.-intro
HETERO video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013

paula roush
in the grip of the panopticon
HETERO video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013

Emília Tavares
hetero q.b.
HETERO video programme
Museu Nacional de Arte Contemporânea –
Museu do Chiado, Lisboa, April 9 – June 30 2013
Joana Amaral Cardoso
Museu do Chiado quer mostrar arte sem o filtro da heterossexualidade
(Museu do Chiado wants to show art without the filter of heterosexuality) 
Ipsilon Publico Magazine, April 9 2013

Sofia Roque 
Hetero q.b.? 
Esquerda, Opinião, May 11 2013

João Moço 
Uma mostra que permite conhecer o outro
Diario de Noticias, May 6 2013

No Museu do Chiado, a arte (e o vídeo) é das mulheres 
Ipsilon Publico Magazine, April 9 2013

Teresa Pizarro 
Programa Molduras: Entrevista  Emília Tavares e paula roush 
As Artes Plasticas na Antena 2, April 22 2013

Bruno Horta 
Quem tem medo de ser “queer”? 
(Who is afraid of being “queer”?) 
Timeout, April 24 2013

LUSA Mostra de vídeo no Museu do Chiado
feminismo e lesbianismo 
Cultura Lisboa April 9 2013

[featured project: HETERO q.b.]


paula roush
Intimate TV: Webcamming &
Social Life-logging In the Surveillant-Sousveillant Space
@ ISEA2011, [spectre] 2011

paula roush From webcamming to social life-logging:
intimate performance in the surveillant-sousveillant space. 
In Pam Skelton and Outi Remes (ed.)
Conspiracy dwellings: surveillance in contemporary art,
Cambridge Scholars Publishing 2010

Mark Howarth-Booth 
Conspiracy Dwellings 
Aperture magazine, Issue 192, Fall 2008

[featured project: CCTV ECSTASY]

Margarida de Carvalho
A Obra “Faça-você-mesmo”:
Estética da Participação nas Artes Digitais 
Faculdade das Ciencias Sociais e Humanas
(Tese de Doutoramento)
Lisboa 2015_2014

Assim, após um período de investigação, o projeto cctvecstasy desenvolveu-se em torno de uma narrativa esboçada a partir dos encontros das performers com os outros participantes da comunidade. As performances desenvolvidas ocorreram em vários canais de vídeo e questionavam as condições de receção e participação próprias do espectador e utilizador da plataforma WebCamNow. Nas palavras de paula roush:
“ [Na área aberta da plataforma WebcamNow] uma variedade de pessoas hétero e LGBTQ (lésbicas, gay, bissexuais, transgénero e queer) operam as suas webcams, jogando com estratégias múltiplas: da autenticidade encenada das que instalam a webcam nos seus quartos, colocando a sua vida sob escrutínio, a outras que se mascaram em versões muito encenadas de feminilidade/masculinidade e fetichismo, atuando para um grupo particular de devotos. Nós usámos a webcamming e as ferramentas de chat de texto livremente disponíveis a fim de trabalhar sincronicamente através de salas separadas e comunicar com outras salasde chat de vídeo.” (roush, 2010: 116)
A performance decorreu online e perante uma audiência em presença, na galeria QUAD em Derby, com sete performers em live streaming enquanto paula roush operava ao vivo a passagem entre os vários espaços. A própria audiência era filmada e transmitida via live feed num canal vídeo. Podemos, portanto, falar de um espaço híbrido em jogo na cyberformance cctvecstasy. De sala de chat em sala de chat, as várias performances são, por sua vez, objeto da intervenção da performer que se encontra no espaço físico da galeria, junto da audiência, e que manipula em tempo real a visibilidade das ações e dos espaços.
Margarida de Carvalho, A Obra “Faça-você-mesmo”:  Estética da Participação nas Artes Digitais 

paula roush 
Spaces, visibilities and transcultural flows:
diasporic strategies in the local worlds.   
Local Worlds. Lagos: Centro Cultural de Lagos. 74-81

Simon Bainbridge
Where there’s art, there brass 
British Journal of Photography, 18 June 2008

Luis Ricardo Duarte 
Um banho de arte 
Jornal de Letras, 18 Jun 2008

Jose Luis Porfirio 
Lagos global 
Expresso Actual, Julho 2008

Celso Martins 
Cultura Emprestada 
Expresso Actual, 19 Julho 2008

Jose Marmeleira 
Virados ao sul 
l+arte 50,  Julho 2008

JM Instalacao convida a  provar e pensar frutos
Jornal da Madeira/ Cultura / 2008-06-15

Laranjas algarvias transformadas em arte
Observatorio do Algarve, 14-06-2008

Armindo Vicente 
Toneladas de laranjas marcaram arranque do programa

Barlavento online, 23 de Junho de 2008

Armindo Vicente 
20 mil pessoas ja visitaram exposicoes do Allgarve 
Barlavento online, 22 de Julho de 2008

[featured project: LOCAL WORLDS]

Katy Deepwell 
KISSS revealed: Deej Fabyc, Paula Roush and Camilla Brueton
on Kinship International Strategy on Surveillance and
Suppression (KISSS)
n.paradoxa, Journeys: Volume 17, Jan 2006

Bob Dickinson
KISSS Kinship International Strategy on Surveillance and Suppression 
Art Monthly, Issue n.321, November 2008

Andy Murray 
KISSS… your privacy goodbye 
Metro, Monday, October 13, 2008

[featured project: KISSS]


paula roush 
Migratory aesthetics / travelling concepts / epistemology of the nomadic place 
Projeto Figura- Pensão Ibérica | artistas em residência, 2010

This brochure was not supposed to happen: Pensao Iberica
(Firm: Musa WorkLab; Client: Dani Soter & Monica Miranda;
Writers: Dani Soter, Monica Miranda, paula roush)
The Best of Brochure Design 12, p. 125
Rockport Publishers, 1 May 2013

[featured project: PENSAO IBERICA]


paula roush
Download fever: photography, subcultures and
online-offline counter-archival strategies.
Photographies Journal, Vol. 2
Photography and Education Special Issue and Symposium Issue.
Eds. Andrew Dewdney and Martin Lister. Taylor & Francis.  2009
Editorial statement

Darren Newbury 
Image, Theory, Practice: Reflections on the Past,
Present and
Future of Photographic Education 
Photographies Journal, 2:2, 117-124, 2009

Holly Crawford
Art Engaging Gangs : Erik Bergrin, Mark Dillon, Jasmine Johnson,  Nadin Ospina, Joseph Rodriguez, Maayke Schurer, Robert Taub, Zefrey Throwell and paula roush’s archive of photographic collections by Rachel Johnson, Tim Body, Robbie Sweeny, Lee Slaymaker, MJ Gumayagay, Richard Harris, Christopher Kamper, Richard Johnson, Natalie Cheung, Karel Polt, Dana Mendonca,
Charlotte Miceli and Rich Harley.
AC Institute New York, 2013

Jonathan Shaw
Photobook Pop-Up
in Self-Publishing and Photobook
ACI/  LSBU External examiner

[featured project: PHOTOGRAPHY,

paula roush & Ruth Brown
Publishing with friends: exploring social networks
to support photo publishing practices
in Niki Lambropoulos (ed)
Educational Social Software for Context-Aware Learning:
Collaborative Methods & Human Interaction
IGI Global 2009

paula roush & Ruth Brown 
Publishing with friends: social publishing networks and learners as produsers
Educational Social Software for Context-Aware Learning:
Collaborative Methods & Human Interaction, 2009

paula roush & Ruth Brown
Publishing with friends:  exploring social networks
to support photo publishing practices
in Dasgupta, Subhasish (ed)
Social Computing: Concepts, Methodologies, Tools, and Applications:
Concepts, Methodologies, Tools, and Applications
Idea Group Inc (IGI) 2009

paula roush & Ruth Brown 
Social Networking and Authentic Engagement: Students as “Produsers.” 
Learning & Teaching e-Journal, 1 (1) 2009


This is very much the territory of paula roush's ethnographic exploration, whose account starts with the historical archive of Anita Corbin's girls' subcultures documentation in 1981 and travels forward to document contemporary youth subcultures in real life, in online communities and in Second Life. roush's visual essay illustrates her students' engagement with the subcultural subject, and in her accompanying paper she gives an account of the teaching rationale and method of what she calls a/r/tography, the relational aesthetic of the artist, teacher and research:

My own identities as artist/researcher and teacher (a/r/t) are all allowed to be present simultaneously and I encourage the younger student-researchers I work with to think and act along the same lines. Moreover, “the acts of inquiry and the three identities resist modernist categorizations and instead exist as post-structural conceptualizations of practice”.

In relation to photography as a discipline (...) paula roush takes the view that theories which acknowledge hybridity prove more fruitful ground for the constitution of relational practices based upon art, teaching and research.


What I believe makes this module like some others stand out from their counterparts within other similar institutes is it’s ability to take that much necessary additional step which deals with the realisation of what happens once a product has been made. It is here that there is clear evidence of something special.
The collectively curated and themed programme and the pop up shop is an excellent example of providing alternative first hand potentially transformative models for entrepreneurship and engagement for investment. The production values of the books and zines demonstrated a sophistication and detailed engagement with the craft.
Jonathan Shaw, on the Photobook Pop-Up

paula roush 
Towards a Free/ Libre/ Open/ Source/ University, February 18, 2013
This article is part of the Furtherfield collection 
commissioned by Arts Council England for 
Thinking Digital 2011

paula roush 
Towards a free/ libre/ open/ source/
university: shifts in contemporary models of art
and education

Zeigam Azizov
When Phd Becomes an Art Work…
msdm stenciled papers,
published for the exhibition Perfectly Placed
South London Gallery

Camelia Gupta
Artists’ work is perfectly placed
24 hour museum, Aug 2004

Paul Rhys
Perfectly Placed To Enjoy The Art of The People
ICNetwork Aug 27 2004

Jessica Lack
Perfectly Placed: Preview
The Guardian, August 7 2004

Sheila McGregor
New art on view: celebrating the success of the
contemporary art society’s special collection scheme.
Scala Publishers, 2006

[featured project: Perfectly Placed/ PhD as art work] 



Brian Holmes
Le mode de diffusion
PARACHUTE No.98 (Avril, Mai et Juin) 2000

Jennifer Burnham
Women With Attitude
SMART Magazine Issue 3, London 2000

Liz Farrelly
Peckham Calling
Blueprint Magazine July/ August 2000

The Public Art of Campaigning 
Variant Magazine Issue 10, Spring 2000
Supplement: The Non Place Urban Realm

[featured project: THE PUBLIC ART OF CAMPAIGNING] 


Eva Schmidt
City Stripping
GAK: Gesellschaft fur Aktuelle Kunst, Bremen 2001

Britta Schatz
City Stripping
Die Tageszeitung, 2001

Regina Bittner
Places Out of Images
Urban Detours, Bauhaus Foundation Dessau

Kai Vockler
Time and Space in Megalopolis
The City Gallery, Prague 2001


"Stripping" means: clearing away layers, surfaces; "Stripping" means: the structure open. With the striptease the coverings are artfully removed, so that the view of the desired object can happen. In the case of this exhibition in the GAK the desired object is the city.
paula roush (London) transfers with "Frankfurtress Ghetto Blast " critical urban theory into the aesthetics of a computer game. Illustrated by the example of Frankfurt/Main,as a global player in ' the international financial world, modifications of urban geography, likewise segmenting the urban spaces into central, global interlaced and marginalised areas, and the space of flows ' of the international transactions clashing a conflict on the spatial needs of the local inhabitants, which is not to be resolved.
Eva Schmidt, 'City Stripping'

Three artists show at Gesellschaft fur Aktuelle Kunst (GAK), in an exhibition exposing the myths underlying the modern city. The ideology of the modern city followed human social development and the ideological position that it should accommodate all their inhabitants equivalently. In the exhibition City Stripping, at GAK, three artists explore different aspects of today's development of this vision.

paula roush brings up for discussion the geographical modifications of a cityscape by the example of Frankfurt as a global player in the international financial world. The computer game "Frankfurtress Ghetto Blast" symbolises the city's individual quarters and their inhabitants, and points out the meaning of their geographical position. The quarters get points assigned: the Citadel, the economic focal point of the city, receives 1000 points, while the Ghetto is pushed completely to the edge and is evaluated with only 400 points. By mouse-click, the photographic surfaces of Frankfurt's city centre are symbolically rearranged in its appearance. The video game is the starting point for an installation of paula roush, which extends a series of images into the space outside the GAK.
The work of the three artists is a small " but exemplary showcase of contemporary artistic practices dealing with the analysis and development of the city" argues Eva Schmidt

Britta Schatz, City Stripping


Zeigam Azizov
Brand Ranking: Working in Between Consciousness and Conformity
Out/sourcing, msdm publications 2003

Melanie Keen
Out/sourcing, msdm publications 2003

paula roush,
London: msdm publications with inIVA 2003

paula roush
msdm: Outsourcing.
Artofficial Construction Media (ACM),
ContextinArt 1, 2003

[featured project: OUT/SOURCING] 


Sarah Carrington and Sophie Hope 
A Revolt at the Door 
B&B (Ed.): Art of Survival London

Artists Travel to Prague
Poster publication 2003

Sarah Carrington and Sophie Hope
The Art of Survival: paula roush
in Conversation with Ella Gibbs,
Alasdair Hopwood, Barry Sykes and Sean Parfitt
Giancarlo Politi (Ed.): Prague

Biennale1 Peripheries Become the Center
 Flash Art, Milan, pp 506-514, 2003

Antje Mayer 
Discount-Biennale. Kunst & Kultur July 2003

Becky Shaw 
The Pernicious Nature of Opposition Chic 
The Static Pamphlet, Issue 03. 2004

Louis Armand 
Prague Biennale Artmargins 2003

paula roush 
Between Peripheries and Shopping Centres
Art of Survival- London Artists Travel to Prague
Poster-Publication for the Czech Centre, London 2003

[featured project: B+B BOYCOTT BIENNALE] 




paula roush 
Can people love things and things pay people’s rent?  
Catalogue ‘I love you, Oh you pay my rent”
Paulo Romao Bras & Sandro Resende Photography and Drawing,
Sao Bento Art Gallery, Lisbon, 2008

paula roush 
TV-essay. Demistifying the Means of Production
in the Broadcast Medium
Multitudes Special Issues 5:125-131 (2011)

msdm give(a)way 
EVA International 2006
Ireland’s Biennial of Contemporary Art

paula roush
Francis Alÿs: The Clandestine Way.
Dardo Magazine n.4 Feb-May, 138-155, 2007

paula roush 
M4 UEC: artist’s run urban entertainment centre 
Anarchitexts: Voices from the Global Digital Resistance
Autonomedia 2004 

 Steve Smith
Contemporary Post-Studio Art Practiceand its
Institutional Currency,
Investigative study with interviewswith five U.K
based artists,Louise Ashcroft, Claire Blundell Jones,
Helene Kazan, Danny Pockets and paula roush
University of Westminster
(Dissertation: MA in Visual Cultures), 2013

Rob Garrett 
paula roush (UK): Public art project 
Auckland 2010, April 2, 2010

Pryle Behrman
2007 Ad
Art Monthly, July-August 2007

Zeigam Azizov 
POSTSCRIPT (Part One): Portuguese live art
in the age of scripted reality November 2004

Lucia Marques 
A Experiencia da Cidade – Londres – 4 Perfis 
Storm magazine
May-June 2004

Jonah Brucker-Cohen, J. 
Report from RAM2: A Joker
in the Global Bunker Workshop 
NOEMA Tecnologie e Societa, 2003

Jan Inge Reilstad 
From The White Cube to The Black Box
to The Personal Computer and out
in The Grey Wide Open –
or How to Reapproach New Media.
An Essay on the Postdigital Artscene., 2003

Kandl, J., 
Kampfer fur’s Gluck
Kunstverein Ulm 2003

Celso Martins 
Balanco de Actividades Ar.Co –
25 anos a reinventar joalharia 
Expresso April 3 2003

Axel Vogelsang 
The Art Audience as User 
Central SaintMartins College
(PHD Research, Arts & Design)
November 2003

paula roush 
Promises Postcard Project
for Video with same title
by Consol Rodriguez,
London Print Studios 2003

 mobile strategies of display & mediation

by appointment only
request private viewing 

paula roush 

London SE

school of arts  & creative industries  
london south bank university