The Nigel Greenwood Prize is delighted to announce that Hannah Rickards and Ima-Abasi Okon have been awarded this year’s Nigel Greenwood artist residencies.

Hannah Rickards receives the Nigel Greenwood Art Prize (3 months/£5000) and Ima-Abasi Okon received the Nigel Greenwood Research Prize (1 month/£1000).

Judges’ statement:

‘The residency is set in such bucolic surroundings that it naturally lends itself to artists interested in the landscape. The history of the landscape has traditionally been a pictorial one however, so what excites us about inviting Hannah Rickards and Ima-Abasi Okon receiving, respectively, the Nigel Greenwood Art Prize and the Nigel Greenwood Research Prize, is that both artists expressed an interest in aural or sonic space, as much as the visual.

We are delighted to select Hannah Rickards as her work, as stated by the artist, is involved with the possibility of thinking oneself into a landscape. In her proposal she put forward some really beautiful ideas in terms of how the experience of being at Gordon Burns’ cottage for a long period of time might influence/translate to language, sound and gesture in her artworks.

And we are delighted to support Ima-Abasi Okon. Spending time at Gordon Burns’ cottage will give her an opportunity to quietly focus on her work as she is approaching the beginnings of a new body of work. In her statement she talked about ‘exploring ways to maximise magic as both an aesthetic and a sculptural act’ and we are really intrigued to see how the context of this residency might influence this research process.’

The judges’ were greatly impressed by the calibre and diversity of the short-list and congratulations goes to all of the nominated artists.

A huge thank you to our brilliant judges and nominators for their time and invaluable support:

Judges 2018:

Oliver Basciano, International Editor, Art Review
Stella Bottai, Curator, Stanley Picker Gallery
Simon Groom, Director, Scottish National Gallery of Modern Art
Sam McEwan, Artist
Stephanie Straine, Curator, Modern Art Oxford

Nominators 2018:

Hana Noorali and Lynton Talbot, Curators, nominated Mark Barker
Louisa Buck, writer and journalist at The Art Newspaper, Alex McNamee
Rebecca Heald, Curator, nominated Freya Douglas-Morris
Sarah McCrory, Director of Goldsmiths CCA, nominated Ima-Abasi Okon
Sally Shaw, Director of Firstsite, nominated Hannah Rickards

There will be a prize event in June, details to follow ….


Ben Rivers

Ben Rivers, There is a Happy Land Further Away, 2015, digital video, 20 mins

The EYE Art & Film Prize: Hito Steyerl – Ben Rivers – Wang Bing
EYE Film Institute, Amsterdam, The Netherlands
24 March – 27 May 2018

Maeve Brennan

Brennan’s new film Listening in the Dark opens at Jerwood Space, London SE1, on Thursday 5th April, 6.30-8.30pm. Screening as part of Jerwood/FVU Awards 2018: Unintended Consequences.

Maeve Brennan, Listening in the Dark, 2018

We are hugely excited that it is that time where we can announce the nominees and judges for this year’s Nigel Greenwood Art Prize.

The nominees for the Nigel Greenwood Art Prize 2018 are:

Ima-Abasi Okon
Mark Barker
Alex McNamee
Freya Douglas-Morris
Hannah Rickards

Ima-Abasi Okon

UNTITLED: Art on the Conditions of Our Time
New Art Exchange, Nottingham, UK

Put Something in the Air: The E-s-s-e-n-t-i-a-l Mahalia Jackson Blowing Up
DJ Pollie Pop’s Chopped and Screwed Rendition of Wagner’s Ride of the Valkyries — Military-Entertainment Complex Dub [Jericho Speak Life!], 2017 

Polished brass, acoustic sound underlay, artists’ jewellery, OSB, tulip, red mahogany polyurethane varnish

Mark Barker

Installation view, Southard Reid, 2015

Freya Douglas-Morris


Chorus of One, oil on linen over board, 2017

Alex McNamee

Fake Ham in a Fake Rock,HDTV, cement and foam, 2017

Hannah Rickards

Installation view Modern Art Oxford, 2014

The judges for the Nigel Greenwood Art Prize 2018 are:

Oliver Basciano, International Editor, Art Review
Stella Bottai, Curator, Stanley Picker Gallery
Simon Groom, Director, Scottish National Gallery of Modern Art
Sam McEwan, Artist
Stephanie Straine, Curator, Modern Art Oxford

A huge thank you to our anonymous nominators (to be revealed after the announcement of the prize).

And an eternally heartfelt thank you to our funders who make the residency awards possible.

The winner will be announced on Monday March 26th.

Past awardees and nominees news:

Congratulations to Maeve Brennan whose The Drift has been nominated for the Tiger Shorts Award at International Film Festival Rotterdam

Rafal Zajko is very busy. On now is ….

Acts of Translation (curated by Eliel Jones)
March 7–May 15, 2018
Etel Adnan, Alex Baczynski-Jenkins, Beverly Buchanan, John Divola, Lubaina Himid, Hassan Khan, Jumana Manna, Helen Marten, Sliman Mansour, Alice Neel, Lydia Ourahmane, Walid Raad, Malick Sidibé, Mounira Al Solh, Kenneth Tam, Wolfgang Tillmans, Sharif Waked, Rafal Zajko

Upcoming are shows in Prague, Berlin, London and:

A solo exhibition at The White Cubicle Toilet Gallery.
Thursday March 15th 9pm – 3am at the Queen Adelaide, 483 Hackney Road, London, E2 9ED
with Entertainment from F.L.E.U.R. / Lindsey Mendick Aka Rick Steinz / Sponge Bob no pants/ Lea Collet and Marios Stamatis / Biggie and Babe / Zoee and the Special Guest Ally of Ally Capellino



Ben Rivers in conversation as part of the Open City Documentary Festival
September 10th, 3pm

‘The relationships between sound, music and image define the meaning and message of any film, be it documentary or fiction. But while the picture is carefully considered in the shoot and edit, sound – and later, music – is often left to fend for itself.

Using The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not Brothers as a case study, Larry Sider from the School of Sound hosts a conversation between director Ben Rivers and sound designer Philippe Ciompi, who will explain their working relationship and the methods they used to effectively integrate image, sound and music.’

Presented in partnership with The School of Sound
SUNDAY, SEPTEMBER 10, 2017 – 15:00


Agnes Scherer’s absolutely wonderful and UNMISSABLE Cupid and the Animals is being performed at the Ludwig Museum in Cologne on Sept 7. If you are anywhere near, GO!


Cupid and the Animals … on the Rhine

7. September 2017, 20h
Museum Ludwig Köln

Eine Oper von/An opera by
Agnes Scherer

Mit Musik von/With music by
Camillo Grewe


Soya Arakawa
Francisco Aguilera Càceres
José Antonio Aguilera Càceres
Lukas Goersmeyer
Fabienne Kirschke
Katrin Sons
Michael Taylor


Edmée Brell
Tom Hardwick-Allan
Kurt Heuvens
Lotte Maiwald
Maya Shirakawa


Thank you to Charles Saumarez Smith for a kind mention in his excellent blog of the exhibition booklet produced for the recent Nigel Greenwood Inc Ltd show at Chelsea Space. Relieved that Mr Smith found the booklet not ‘dross’ but a ‘nice surprise’.

Nigel represented an era when gallery owners were able to be more interested in the art than the money.   In an interview, he claims that the contemporary art world consisted of 150 people ‘in the whole enterprise worldwide’”.



Thank you Art Review

Paloma Bosquê has been announced as the winner of the 2017 Nigel Greenwood Art Prize. The São Paulo-based Brazilian artist will undertake a three month residency at a cottage and studio in the Scottish Borders, and will receive an honorarium of £5,000.

Bosquê was chosen by a four-person jury from a shortlist which included Glasgow-based Rachel Adams, Chester-based Jacqueline Bebb, Vilnius-based Augustas Serapinas and Edinburgh-based Hannah Tuulikki. The 2017 jury included Helen Legg, director of Spike Island, Bristol; curator Tamsin Dillon; artist Yuko Shiraishi; and Nicola Lees, director of 80WSE Gallery, New York. Each artist was nominated by a selector whom remained anonymous during the judging process. Bosquê was put forward by ArtReview‘s international editor, Oliver Basciano.

Bosquê currently has a solo show at the Pavilhão Preto at Palácio Pimenta, Lisbon, and is included in the Coimbra Biennial this coming November. The prize is named in memory of the late gallerist Nigel Greenwood, often cited as a key figures in the development of the London art scene, and is coordinated by his estate. Previous winners include Ben Rivers and Katie Schwab.



Congratulations to the winner of the Nigel Greenwood Art Prize 2017:

Paloma Bosquê



 Inverso Duplo

Paloma Bosquê was born in Brazil and lives and works in Sao Paulo. The judges were impressed by her ‘elegant, poetic and romantic’ work and intrigued by her wish to ‘contaminate’ her sculptures, deeply informed by her Sao Paulo context, with the materials of the borders.

And congratulations to Jacqueline Bebb who was awarded the Nigel Greenwood Research Prize.

Thank you to our wonderful judges:

Helen Legg, Director of Spike Island

Tamsin Dillon, Curator

Yuko Shiraishi, Artist

Nicola Lees, Director 80 WSE

And thank you to our nominators (each year we invite five people from across the art world to anonymously put forward an artist, the names are announced only once the winner has been selected):

Simon Groom, Director, Scottish National Gallery of Modern Art
nominated Hannah Tuulikki

Oliver Basciano, Editor (International) and writer, Art Review
nominated Paloma Bosquê 

Stephanie Straine, Curator, Museum of Modern Art Oxford
nominated Rachel Adams

Joe Fletcher Orr, Artist and founder of Cactus Gallery
nominated Jacqueline Bebb

Stella Bottai, Curator, Stanley Picker Gallery
nominated Augustas Serapinas


We are thrilled to announce the short-list for the Nigel Greenwood Art Prize 2017

Rachel Adams
b.1985, Newcastle, lives and works in Glasgow


Jacqueline Bebb
b.1977 in Chester. Lives and works in Chester, UK, and Portland, US


Paloma Bosque
Lives and works in Sao Paulo


Augustas Serapinas
b.1990 in Vilnius, Lithuania. Lives and works in Vilnius


Hannah Tuulikki
b.1982. Lives and works in Edinburgh, Scotland


Nomination process. Each year 5 anonymous nominators, drawn from across the art world (not including commercial galleries), are invited to put forward an artist. The nominators are announced once the winner is selected.







We are hugely honoured to announce that the judges for the Nigel Greenwood Art Prize 2017 are:


Helen Legg, Director of Spike Island, Bristol

Tamsin Dillon, independent curator

Yuko Shiraishi, artist

Nicola Lees, Director 80WSE Gallery

Matthew Higgs, Curator and Director White Columns


The Drift



Maeve Brennan’s new film The Drift will be showing at Chisenhale Gallery March 31st to June 4th.

Opening March 30th, 6.30-8.30pm.

Full details here.




Congratulations to Agnes Scherer and the unbelievably talented team involved in Cupid and the Animals, particular mention to Tramps who staged the two deservedly sold-out events.

Unique, beautiful, funny, strange, whimsical, moving and utterly brilliant. The NG Prize are so honoured to have supported it and look forward to future presentations.

Truly wonderful.



Cupid and the Animals
An operetta by Agnes Scherer
Music by Camillo Drewe and performing artists

The night of Friday January 27 2017
The afternoon of Saturday January 28 2017

TRAMPS offsite
Unit 9I
133 Copeland Rd
London SE15 3SN





Camden Arts Centre, London

Wednesday 14 December, 7.00 – 8.45pm

To launch his first monograph Ways of Worldmaking, artist Ben Rivers and design and art collective åbäke discuss the book with Sophie Williamson, Programme Curator: Exhibitions at Camden Arts Centre. This book has been made in conjunction with Rivers’ recent exhibition at Camden Arts Centre, Earth Needs More Magicians with new essays by writers Ed Halter, Melissa Gronland, Renee Gladman and Andréa Picard, alongside transcripts and research material. This talk will be followed by a book signing.

Talk: 7.00 – 7.30pm
Book launch: 7.30 – 8.45pm

The Nile Set

A new body of work made by Agnes Scherer, in collaboration with Paul DD Smith, curated by Real Positive at COFA Contemporary, opening 16.11.2016 / 12h until 20.11.2016.



Thank you Katie Schwab, winner of the 2016 Nigel Greenwood Art Prize for sending us a gorgeous present of things made during the residency. Katie was selected by the judges for a proposal to explore local weaving traditions and she managed in her ambition to get a loom ‘up and running’. We’re proud to have been able to host Katie and delighted that she had such a productive time.



Weaving sample, Katie Schwab, 2016


World of Interiors, Katie Schwab and Alexis Lagimodiere-Grise, 2016



Jerusalem Pink

19 August – 11 September 2016

Maeve Brennan was born in London
She studied at Goldsmiths and Ashkal Alwan’s Home Workspace Program
Maeve currently lives and works in London and Beirut

A conversation between Marta Bermejo Sarmiento and Maeve Brennan, Cathedral Church of the Holy and Undivided Trinity’s cloister, Norwich, 17 August 2016, early afternoon

Marta Bermejo Sarmiento: It’s interesting how you chose to approach the Dome of the Rock in your film. Very rarely do you get to see a documentary film about this site in which mystical beliefs and religion appear only anecdotally.

Maeve Brennan: I wanted to approach the film from the perspective of material culture, through geology, archaeology, architecture, all of these things that give you a tangible sense of things in Palestine. The Dome of the Rock is usually discussed in symbolic terms, a place for conflict to play out on. I focused on the walls and what it was made of. The fact that the stone is the same material that makes up the landscape, the architecture and the sacred rock. The film documents four experts (an archaeologist, a stone worker, a geologist and an architect) discussing the Palestinian landscape from the perspective of their disciplines. For example, there is this part where the geologist, Dr Taleb al Harithi, says ‘If you blindfold me and drop me anywhere in Palestine, when I wake up I can tell where I am by the stones.’ This was an incredibly important moment because it demonstrated a specific kind of embodied knowledge. He told me that he goes every summer to look for minerals and precious stones on the Palestinian side of the Jordan valley. And because of his knowledge about the shift in tectonic plates he can work out where the same minerals will be deposited on the other side of the valley and goes and collects them there. He travels the exact distance northwards along the valley, following the tectonic shift that occurred. His knowledge of the landscape is a very particular one and it manifests in stones.

MBS: But the religious content doesn’t go completely…

MB: No of course it’s both things and that’s why it’s an interesting site to talk about in this way. I mean I really liked the idea of people coming to the engineer in charge of the building and saying ‘Does the rock float underneath the dome?’ This moment where spirituality or belief in these holy sites comes into contact with the practical maintenance and care for the site.

And of course I don’t answer it directly in the film. But you see the rock at the base of this enormous scaffolding and it becomes a kind of real material space which is being restored, its ornamentation cut up and injected with PVA. I think it’s definitely to do with making things tangible – the building can no longer be seen as a distanced, symbolic object. It is made of lime and marble and it leaks and has dampness. It really … ah, what is the word…

MBS: Materialises?

MB: Yeah sort of, it becomes present as matter. This was my initial interest in geology as well, a material way of thinking through bigger concepts of time and history.

MBS: It seems to me that this film is both an architectural homage to the Dome of the Rock and a homage to the memory of your great grandfather Ernest Tatham Richmond (ETR). How did this come about?

MB: The interest with my great-grandfather began when I found the book he wrote The Dome of the Rock: A Description of its Structure and Decoration (1924). There were these diagrams he’d drawn that depicted the surface of the building. He had used different crosshatches to define the various periods of restoration that had taken place on the exterior walls. They’re really strange images…
I had also been researching the Jerusalem stone industry in Palestine and had filmed a number of quarries. I began to look at those diagrams as documenting a kind of stratigraphy – layers of restoration. The images reminded me of the quarries I had visited, where cuts into the mountains revealed layers of strata, making time visible. That was how it all started with ETR.

It wasn’t a matter of delving into family history in the usual sense. But his role as an architect in charge of the repair and restoration of this building made him relevant to my research. I find the role of the building surveyor really interesting because it gives you a sense that architecture is constantly moving and transforming, not something static. There is this part in ETR’s text where he says that the Dome of the Rock is “alive, almost in the same way a man is alive,” renewing its skin and structure in order to continue existing. With the Dome of the Rock that maintenance becomes a political act because the building is representative of something so significant for Islam and it’s in this contested site. So inscribing those layers of restoration into the surface of the building is kind of like instating a belief in its existence and everything it represents. That’s how he saw it.

MBS: In the film ETR says the Dome of the Rock has been ‘exposed to the destructive attacks of winter storms, earthquakes and “souvenir seekers”’. In Palestine, many souvenirs are charged with belief like pieces of sacred stone. You have chosen to present 300 bespoke lighters, in five different colours.

MB: I think with these sites there is a sense that everyone wants to somehow hold it or have a piece of it. When I first arrived in Jerusalem, my taxi driver was lighting a cigarette and pointed at his lighter which contained an image of the Dome of the Rock and said – ‘Look, Al Aqsa’ [the Palestinian name given to the site]. I’ve always had an interest in these objects that might attempt to condense bigger political, historical or social contexts so the souvenir became pertinent. Much of my work also looks at shifting economies or flows of objects. Jerusalem stone, seatbelts, or in my current research I am looking into a small town in Lebanon that deals mainly in stolen cars and smuggled artefacts from Syria. I wanted to produce an object that would enter into its own flow. The lighter is also particular as it kind of denotes a social encounter, and this is at the basis of all my work.



Film-maker Ben Rivers, winner of the NG Art Prize 2015, is currently resident in the cottage and studio.

We’re envious …

“Here’s daytime pics of studio, writing and ink drawings, the garden lush and tropical, and nighttime pic of pure pleasure, fire, whiskey and A Night of Serious Drinking by Rene Daumal.”





Congratulations to Katie Schwab for winning the Nigel Greenwood Art Prize 2016. Schwab wins £5000 and a 3 month stay at the residency cottage and artist studio.

Speaking on behalf of this year’s judges Alessandro Vincentelli, Curator of Exhibitions & Research at BALTIC Centre for Contemporary Art said, “Katie Schwab’s submission revealed a strong emergent contemporary practice, informed by process of research and investigations into the politics of craft. Schwab creates beautiful and intelligent artworks and is versatile in her use of media, making video, and text installations, collaborative work with others, woven textile pieces and ceramics. Katie’s submission made a strong case for her wanting to investigate making traditions associated with the Scottish Borders, in particular the history of textiles and weaving traditions. As an exhibitor in the New Contemporaries 2015 and actively involved in Scottish art scene already, I am sure this will be a fantastic and creative opportunity for Katie to research and make new work. We /I look forward to what Katie can do with this really special open opportunity.”



The judges were also impressed by the precision and commitment in artist Maeve Brennan’s work and awarded her the £1000 research prize and 1 month residency. Judge Eliza Bonham Carter, Head of the Royal Academy Schools, said, “Maeve Brannan’s beautifully framed films captured the panel’s attention. We were intrigued by her work and keen to support this talented artist in these final stages of her current project focused on the Bequaa Valley in Lebanon. The Nigel Greenwood residency will allow Maeve the time and space to edit her film and develop the sculptural elements to bring the piece together for exhibition.”


Congratulations to both Katie Schwab and Maeve Brennan. Congratulations also to the whole short-list and to the nominators and judges.

Maeve Brennan nominated by Helen Legg, Spike Island
Sara Mackillop nomnated by Matthew Higgs, director White Columns
Josefine Reisch nominated by Nicola Lees, curator
Katie Schwan nominated by Tamsin Dillon, curator
Rafal Zajko nominated by Marc Camille Chaimowicz, artist

The judges of the Nigel Greenwood Prize 2016 were:
Eliza Bonham Carter, Head of the Royal Academy Schools
Peter Doig, artist
Alessandro Vincentelli, curator of Exhibitions & Research
BALTIC Centre for Contemporary Art
Gateshead Quays
Paul Nesbitt, Director and curator, Inverleith House, Royal Botanic Garden
Carol Gorner, Gordon Burn Trust
Catherine Lampert, independent curator and author
Frances Von Hofmannstahl, Editor and founder of Luncheon magazine

And a huge thank you to CHELSEA Space who hosted the award ceremony and to Brunswick Cafe for an amazing dinner.

Thank you to the inaugural winner of the Nigel Greenwood Prize 2015, Agnes Scherer, who curated the dinner, creating incredible ‘deco-bana’, her fabulous interpretation of Japanese ikebana.