My undergraduate studies were completed at Goldsmiths' College
(University of London) in 1988, where I primarily studied film,
video and photography. My instructors included Michael Craig Martin,
Jayne Parker, Mary Kelly, Helen Chadwick and Sarat Maharaj.
As an artist I have exhibited internationally since 1990; one
person exhibitions include Galerie von senger (Zurich)
De Appel Foundation (Amsterdam) and Karsten Schubert
Ltd (London). My contributions to group exhibitions include
Venice Aperto (1993) and Brilliant, Walker Art Center
(1995).
Film production is a significant aspect of my work. I have directed a number of shorts and documentary films for television and exhibition as the result of specific commissions. The range of this work is diverse and includes: O.T.B (Venice Biennial, 1993). Deep,darkwater (Public Art Development Trust, London,1994). Hotel Occidental (Villa Arson, Nice, 1993) and Softly, Softly (Kunstlerhaus, Stuttgart, 1994). Each of these works approaches documentary structure and convention with a desire to re-configure many traditional techniques of construction. Furthermore my experience and understanding of of film and television practice has been greatly extended by this activity.
In 1990 I organised, curated and promoted the exhibition East Country Yard Show in London Docklands, an ambitious project that utilized 40,000 square metres of warehouse space and presented large scale works by a number of artists working in an international context.
In 1991 the Surrey Institute/James Hockey Galley published my research/work 100 Photographs - a critique that was located in the construction of identity and ritualized behaviour through studying the photographic archive of a small town newspaper.
In 1992 I curated Exhibit A for the Serperntine Gallery, London, which developed around a number of artists (from Europe and America) who have utilised the idea of objectivity in their work particularly when it is that supposed objectivity that proposes a critical reading of diverse apsects of visual culture, including cinema, advertising, architecture and portraiture for example. I also co-edited a two volume catalogue of the show.
As an on-going study I have worked with the writer Liam Gillick (Henry Bond and Liam Gillick - Documents) on a body of research that is an attempt to extrapolate the conditions, practice and activity of news gathering and reporting. Our research amounts to over one hundred press events recorded - our published discourse takes the form of photography and text.
I have contributed further research to a number of cultural journalists including Flash Art International, Creative Camera, Text zur Kunst (Cologne), Documents (Paris) and Purple Prose (Paris). Of particular relevance within this context is a special double edition of Creative Camera (1991) in which I was invited to edit an entire issue focussing on process and new technology/new British image makers. I am also an adviser to Zapp Video Review (Amsterdam) and Prime Time video magazine (Paris).
Since 1990 I have had the opportunity to travel widely particularly in Europe, following through commitments to galleries museums and cultural institutions. I have therefore an overview of culturally specific problems relating to the nature and capacity of the film, television and arts communities. The cities in which I have colleagues include: Paris, Rome, Milan, Cologne, Berlin, Ljubljana, Amsterdam, Zurich and Los Angeles.
As an instructor I have developed certain debates with undergraduate students, including CNAC Villa Arson (France), where I evolved a course module considering how and what types of filmed material signify as extreme.
I have also taught/ lectured at Kunst Academie Stuttgart, Goldsmiths College and Nottingham Polytechnic. In addition to this I have given papers at certain seminars and conferences including: Das Archiv, Graz, Austria (1994).
In 1994 I established Omron Television with the purpose of promoting and archiving new independent film and television productions from emerging artists and directors - this loose organisation has worked with a number of sponsors to take new film and television work to new audiences particularly through one off cinema screenings and direct mail.
Référence: http://filament.illumin.co.uk/ica/innovation/bond1.htm