Kristin Mojsiewicz is an artist and lecturer. She has been a co-director of Brass Art since 1999 - a collaborative arts practice with Chara Lewis (Manchester Metropolitan University) and Anneke Pettican (University of Huddersfield).
Through extended collaborations with Spencer Roberts (UoH), Monty Adkins (UoH), and Alistair MacDonald (RCS), Brass Art have produced a series of immersive artworks directly responding to the creative spaces of writers, including the Brontë’s, Sigmund Freud and Virginia Woolf. Most recently, in collaboration with software developers RiTH, they have created an augmented reality app to explore the dimensions of touch and affect which will span twin cities, reconnecting the UK with France, commissioned by Turnpike Gallery.
Mojsiewicz is the external examiner for the MA Fine Art Programme at LICA, Lancaster University, and committee member / selector for xCoAx.
Brass Art are members of the AHRC-funded Hepworth Research Network, and part of the Centre for Sculptural Thinking (UoH).
Kristin Mojsiewicz teaches on the Masters in Contemporary Art Practice programme, and supervises PhDs in the School of Art. She is course organiser for Sites, focussing on the specificity of location and encountering the artwork, and teaches on Studio and Practices, which develop and re-think ways of making and unmaking. Alongside this she contributes to seminar courses Methods and Future Business of Art which invite students to critically interrogate the conceptualisation, production and dissemination of art in relation to strategies of DIY and artist-led cultures.
Kristin has previously taught on UG courses in visual culture, sculpture, drawing practices, and time-based media. Prior to her employment at ECA she has taught UG and PG students at a range of institutions, including: Sheffield Hallam University, Manchester Metropolitan University, Grays School of Art, and the University of Newcastle Upon Tyne.
Mojsiewicz completed a practice-led doctorate in 2009 entitled 'Investigating disorientation through the adoption of role-playin contemporary fine art practice'. She is currently researching an expansion of the ideas and key locations in Eastern Europe, speculatively titled Fugitive Fictions, which sit at the centre of the thesis. Her solo video work has screened at: Arsenals Riga, Kiasma Museum of Contemporary Art Helsinki, Kunsthalle Vienna, Centre for Contemporary Art Warsaw, Centre for ContemporaryArt Normandy, Kunsthalle ExnergasseVienna, Kölnischer KunstvereinCologne, and international film festivals.
Her research interests include: role-play and the navigation of space, fugitive identities, surrogate landscapes, filmic disorientation, 3D body scanning technologies, new media archaeology, sculptural installation, and moving image work.
Brass Art have built a practice over more than 20 years which has collaboration at its core and extends to include other practitioners and specialists. Their practice is situated in the overlapping areas of drawing, sculpture, audio-visual installation and moving image work. Through deliberate misuse of both digital and analogue light-based technologies, they explore the creative and performative potential of 3D bodyscanning technology, 3D rapid prototyping, and Kinect on-range scanning to create digital shadowplays and sculptural ‘doubles’. These light-based methods are used to leave no physical trace in heritage or protected spaces, and the resulting artwork can ‘open’ inaccessible spaces to audiences through performance events or virtual means.
As part of their ongoing research into a ‘vital’ uncanny, Brass Art convened a one-day symposium Folds in Time: artists responses to the temporal and the uncanny with invited participants Lindsay Seers, Patricia Allmer, Saskia Olde Wolbers, Artangel, Alison Rowley, Pavel Pys, Rebecca Fortnum, Rachel Withers and Daniel Silver at the Freud Museum in 2015.
Previous research partners have included: Manchester University Museum, The Bill Douglas Collection, Bronte Parsonage, The Freud Museum London, Monk’s House, and Chetham’s Library.