Job title: Lecturer in Contemporary Art Theory, School of Art
Role: Sub Unit of Assessment Co-Ordinator for REF2021 (Unit 32); Course Organiser for Art Now: Theories, Practices and Institutions; Course Organiser for Contemporary Art and Digital Culture; Course Organiser for MFA TPG Visual Cultures; Friday Talk Convener
Rebecca Collins is an award-winning artist researcher working at the intersection between contemporary performance and sound studies. Her practice, grounded in specific sites or communities, investigates the relationships between social, political and cultural phenomena. Current works explore eavesdropping and amateur espionage, the performativity of gender online and the vibrant potential of landscapes and rural communities
Rebecca is interested in how critical, fictional and performative interventions might cultivate attention towards our contemporary condition indicating potential levers for change. Rebecca is concerned with sharing her scholarship and practice through multiple outcomes which might include performed material, exhibitions, screenings, workshops and publications.
Current projects include ‘Stolen Voices’ with artist Johanna Linsley. The work, inspired by eavesdropping practices, imagines public spaces as semi-fictional constructions, as if an Agatha Christie novel has shattered over a town and fragments caught in the local soundscape. The project takes a variety of forms, from participatory workshops to new music composition, experimental performance, community gig nights, an exhibition and a book project for Copy Press currently in process which they call a sonic detective novel.
Rebecca is co-organiser of Women In Sound/Women On Sound (WISWOS), a research network which tackles inequality and gender bias in the sonic arts. She is an associate artist at Aberystwyth Arts Centre and with Newcastle-based theatre makers Cap-a-Pie. She is a member of the Association for the Study of the Arts of the Present, the Theatre and Performance Research Association (TaPRA) and Artea, an interdisciplinary research group based in Spain.
Rebecca is part of P.I.C.A a competitively selected group of international researchers investigating collective creative processes 2018-2020. The group meets regularly at AZALA in Northern Spain.
Rebecca received a PhD in Performance Studies from Aberystwyth University. Prior to this, she was awarded an MA in Performance and a BA in English and Drama, both from Queen Mary University of London. She also received a subsequent MA from the University of Alcalá de Henares (Madrid) in Visual Culture and Performance
Rebecca is a Fellow of the Higher Education Academy (FHEA) and has extensive experience of teaching undergraduate and postgraduate courses on a variety of practical and theoretical modules. Her specialist knowledge and expertise in sound, curatorial strategies and performance informs and drives both her research and teaching practices. She has knowledge of a range of research techniques and methodologies including critical theory, aesthetics and practice-based research. Rebecca teaches Visual Culture across the undergraduate and postgraduate programmes in the School of Art and is currently the course organiser for 'Art Now: Practices, Theories and Institutions', 'Contemporary Art and Digital Culture' and 'Visual Culture' (MFA).
Rebecca has supervised undergraduate and postgraduate dissertations on a range of topics including gender, visual aesthetics, sound, art writing and fiction.
Rebecca previously worked at The University of Leeds and made a substantial contribution to the design and delivery of practice-based research modules at the School of Performance and Cultural Industries and The Workshop Theatre at the School of English. Prior to this Rebecca lectured at Aberystwyth University and Sunderland University and has been a guest lecturer on the MA in Performance and Visual Cultures at the University of Alcalá and the Reina Sofia Museum in Madrid, Spain.
Rebecca's main research interests are in the fields of sound, listening, performance and writing. Rebecca is particularly interested in practice-led research methodologies for investigating aural attention, affect, mood and atmosphere through listening, text and vocal delivery techniques.
Rebecca's work is informed by transdisciplinary interests in politics, site and aesthetics. She is currently thinking through theories of the event, writing the swarm and the slippery borders between public and private space for her forthcoming book publication with Johanna Linsley for Copy Press.