Dr Judit Bodor
Baxter Fellow in Curatorial Practice
Art and Design Office, Duncan of Jordanstone College of Art & Design
Dr Judit Bodor is Baxter Fellow in Curatorial Practice and Programme Director MFA Curatorial Practice (Art & Design) at Duncan of Jordanstone College of Art & Design. She is interested in curating as an interdisciplinary, performative form of practice and research. Her work is often collaborative and exposes lesser-known histories and practices of counter-cultural, time-based, and networked art through curating artists' archives.
Trained in Art History at Eötvös Loránd University, Budapest, before studying MA in Arts Management at Dartington College of Arts, she gained her AHRC-funded PhD from Aberystwyth University, through which she co-curated the major exhibition Silent Explosion: Ivor Davies and Destruction in Art at Amgueddfa Cymru - National Museum Wales in Cardiff.
She has held teaching and research positions at Dartington College of Arts, York St John University, Cardiff Metropolitan University and The Glasgow School of Art and worked professionally as a curator and producer, including with WAVEparticle, Glasgow, East Street Arts, Leeds and independently with a range of organisations.
Amongst other current positions, she leads the SGSAH Creative Economies Knowledge Exchange Hub, is a member of the UKRI Talent Peer Review College, a peer reviewer for Routledge and Bloomsbury, an Editorial Board Member of Gordian Projects, and a Trustee of The Alasdair Gray Archive, Glasgow and Generator Projects, Dundee.
Her current (2024-2025) RSE-funded project Curating the Digital Attic Archive: A Case Study for Open-Source Approaches to Artists' Archives co-led with Dr Roddy Hunter (The Glasgow School of Art), has established an international research network to develop an open-source web platform enhancing access to the dispersed and internationally significant Attic Archive, established by artist Pete Horobin in Dundee in 1975. This network builds upon her 2021 workshop project, Curating Living Archives, which explored a range of ways to reinvestigate the contemporary relevance of historical performance and media art for new audiences. In recent years she has worked with artists internationally on exhibitions, publications and developing new performance works in the context of festivals, and research projects including most recently Holly Davey, Alastair MacLennan, Kevin Atherton, Anya Lewin, Cyril Lepetit, Calum Eccleston, Vlasta Delimar, Elayne Harrington, Balint Szombathy. She regularly publishes her research in edited interdisciplinary collections including recently in 'Performance in a Pandemic' (Routledge 2021), 'What Will Be Already Exists' (transcript Verlag 2021), 'The Explicit Material' (Brill 2019), 'Left Performance Histories' (nGbK, Berlin 2019).
She is interested in hearing from potential PhD candidates in research areas such as contemporary curatorial practices, curatorial pedagogies, alternative and counter-archives, histories and practices of post-1970s performance art, and other forms of time-based art practices.
She is currently supervisor on the following PhD projects at DJCAD:
- Spaces of African-Caribbean Diaspora: Identity, Otherness and Belonging in Contemporary Art of Black Women Artists Working in Britain (Researcher: Cat Dunn)
- Online Exhibitions after the Covid-19 Pandemic — Art Museums' Re-engagement with Audiences in China and the UK (Researcher: Xiaoyuie Zhang)
- 'Die to Self': A Practice-led Exploration of the Unseen in the Alastair MacLennan Archive (Researcher: Calum Eccleston; SGSAH-funded DTP)
- The Ontology of The Photographic Moment – and Exploration of the Insights of Photographic Practice for Speculative Realism (Researcher: Alison Price)
She is also an external supervisor for a Media Art PhD at the Film, Media and Cultural Theory Doctoral Program at Eötvös Loránd University, Budapest, Hungary (Researcher: Flóra Barkóczi).