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He graduated from Goldsmiths College of Art, London, in 1988 and as one of the generation of Young British Artists, he participated in the seminal 1988 exhibition Freeze. In 1991 he was shortlisted for the Turner Prize and since then has exhibited internationally and undertaken numerous large scale site-specific paintings, including the 50m long mural, Poured Lines: Southwark Street, under the Western Bridge on Southwark Street, London.
Davenport's work is held in numerous public collections, including the Arts Council Collection, London, Dallas Museum of Art, Texas, Tate Gallery, London, Southampton City Art Gallery, Southampton, Weltkunst Collection, Zurich, and the Centre for Modern and Contemporary Art, La Spezia, Italy.
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Most recently, she has curated the group exhibition Blue Times (2014-2015) at Kunsthalle Wien in Vienna. Gad has contributed, produced and has been editor of several publications including: Rotterdam South – Home, an artist book by Erik van Lieshout (2014); The Crime Was Almost Perfect (2014); Morality in Fragments (2014); Angela Bulloch (2012); and Rotterdam–Sensitive Times (2013) by Lidwien van de Ven. Gad is also Correspondent Editor for Ibraaz (www.ibraaz.org), an online magazine dedicated to visual art and culture in the Middle East and North Africa.
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Prior to joining the South London Gallery, Margot was a freelance curator (1998 - 2000) and Director of Exhibitions at Anthony d’Offay Gallery (1996-1998). Between 1989 and 1996, she worked for Southampton City Art Gallery: joining as Assistant Curator before becoming Curator and then Director. She served two terms on the Government Art Collection Committee for six years, was a judge for the 2006 Turner Prize and was made a Chevalier des Arts et Lettres by the French Government in 2007. In 2014, she was appointed Officer of the Order of the British Empire (OBE) in the Queen's Birthday Honours List for services to the arts and was an advisor for the 2015 Venice Biennale Selection Committee.
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Helen’s PhD thesis examined case studies of international sculpture in relation to ‘public’, engagement, and the articulation of place; she now works with communities worldwide including with ArtRole to facilitate cultural exchange with Kurdistan-Iraq and with Creative India. She co-curated the first Kyiv Sculpture Project in 2012, which coincided with the City's first biennial and was experienced by over 600,000 visitors in one month.
Helen is regularly invited to contribute at international conferences and by the media and she is recently published within Sophie Ernst: Home 2012; Miró: Sculptor 2012; James Capper: Divisions 2013 and Jordan McKenzie 2014.
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