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The British Artist Tackling the Long, Dark Shadow of Colonialism, 24 October 2019, by Paul Carey-Kent

Publisher: Elephant Magazine, © Paul Carey-Kent 2019

Susan Stockwell utilises coins, banknotes and maps to dig into the connected themes of international trade, migration and climate change—and to trace these contemporary concerns all the way back to the barbaric history of colonialism and the Industrial Revolution. Words by Paul Carey-Kent

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Painted into a corner......British art responds to the folly of Brexit, 1 March 2019, by Jonathan Jones

Publisher: The Guardian, © Jonathan Jones 2019

Review of the exhibition, "Should I Stay Or Should I Go? at Patrick Heide Contemporary Art is not a homage to the Clash song but an urgent personal question for Europeans living in Britain. And for some Britons, too. Gallerist Heide admits it’s one he asks himself. Like many artists and art professionals in London, he is from continental Europe – in his case Frankfurt – and his exhibition reflects the wretched sense that everything is going to be different, that Britain is shrinking. Susan Stockwell’s green woollen map of Britain shows this most succinctly. Scotland looks proper and correct, yet Brexit-voting England and Wales are collapsing in a shapeless mess. Brexit is not strengthening national identity in this acidic knit but melting this sceptred isle........" Other artists include - Michal Iwanowski, Michael Landy, Jill Baroff, Sophie Bouvier Ausländer, James Scott Brooks, David Connearn,Eric Cruikshank, Henrik Eiben, Frank Gerritz, Stefana McClure, Mike Meiré, Danica Phelps, Varvara Shavrova and Johannes von Stumm.

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Belt Up - Artist at Work, 6 June 2019, by Edward Fennell

Publisher: Law Diary, THE TIMES, © Edward Fennell / THE TIMES 2019

Pinsent Masons has appointed Susan Stockwell as its new artist in residence, which is not a post that many of its competitors can boast. She is the fifth in the firm’s history and is an award-winner with a strong record of public commissions for the Royal Shakespeare Company, the National Army Museum, the London Transport Museum and the like. Stockwell has work in the Victoria and Albert Museum and the Yale Centre for British Art, and has exhibited at Tate Modern and Manchester City Art Gallery. During her year with the firm, Stockwell will work at its London office creating works for display throughout the building and on a collaborative piece with staff.

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Artist in Residence at Pinsent Masons 2019-2020

Trade Winds, 15 September 2019, by Centre for Research in the Arts, Social Sciences and Humanities

Publisher: University of Cambridge, © CRASSH 2019

Information about my sculptural installation 'Trade Winds' which forms part of 'Migrant Knowledge: Early Modern and Beyond' conference at Cambridge University (15 - 17 September 2019)

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Susan Stockwell sees 'Brexit' Britain adrift on a sea of copper, 19 September 2019, by Mike Brooke

Publisher: The World News, © Mike Brooke 2019

Article about my exhibition 'Trade Winds' at St Peter's Church, Cambridge University

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This exhibition was part of 'Migrant Knowledge: Early Modern and beyond', an event organised by the ERC-funded project 'Crossroads of Knowledge' (15-17 September 2019), based at CRASSH and the Faculty of English, University of Cambri

Artist addresses Brexit with boats made of bank notes, 19 September 2019,

Publisher: Bangla Mirror, © BM 2019

Article about my exhibition 'Trade Winds' at St Peter's Church, Cambridge

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'Brexit' Britain adrift on a sea of copper, 20 September 2019, by Mike Brooke

Publisher: Newham Recorder, © Mike Brooke 2019

Article about my exhibition 'Trade Winds' at St Peter's Church, Cambridge

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Why UEL artist Susan Stockwell sees 'Brexit' Britain adrift on a sea of copper, 20 September 2019, by Mike Brooke

Publisher: East London Advertiser, © Mike Brooke 2019

Article about my exhibition 'Trade Winds' at St Peter's Church, Cambridge

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Art after Money, Money after Art, 2018, by Max Haiven

Publisher: Pluto Press, London, © Max Haiven 2018,

We imagine that art and money are old enemies, but this myth actually reproduces a violent system of global capitalism and prevents us from imagining and building alternatives. From the chaos unleashed by the 'imaginary' money in financial markets to the new forms of exploitation enabled by the 'creative economy' to the way art has become the plaything of the world's plutocrats, our era of financialization demands we question our romantic assumptions about art and money. By exploring the way contemporary artists engage with cash, debt and credit, Haiven identifies and assesses a range of creative strategies for mocking, sabotaging, exiting, decrypting and hacking capitalism today. Written for artists, activists and scholars, this book makes an urgent call to unleash the power of the radical imagination by any media necessary.

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How Are Contemporary Artists Treating Brexit Amid the Stall in the Talks?, March 2019, by Elena Martinique

Publisher: Widewalls, © Elena Martinique, Widewalls 2019

Article about the exhibition 'Should I Stay or Should I Go?' at Patrick Heide Contemporary Art, exploring broader questions resulting from the Brexit scenario, focusing on notions surrounding inclusion and exclusion, migration and memory, and more profoundly of home and belonging. Featuring my work 'Jerusalem-Br-exit' and works by Jill Baroff, Sophie Bouvier Ausländer, James Scott Brooks, David Connearn, Eric Cruikshank, Henrik Eiben, Frank Gerritz, Michał Iwanowski, Michael Landy, Stefana McClure, Mike Meiré, Danica Phelps, Varvara Shavrova and Johanne von Stumm.

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