Pam Skelton CV

Pam Skelton is a visual artist and researcher based in London. Her practice involves collaborations and multidisciplinary research which focus on neglected, contested, or underrepresented histories across moving image and lens-based media and archives. Concerned with the interface of public and personal memory in the aftermath of Fascism and the legacy of the former Soviet Union in East and West Europe she is interested in how art can address unresolved histories.

Pam was Reader in Fine Art at Central Saint Martin’s till 2013 and currently continues to supervise practice based PhD students. Her work has been exhibited in the United Kingdom, Canada, Czech Republic, Croatia, Estonia, Finland, Germany, France, Northern Island and Russia.  Publications include Conspiracy Dwellings: Surveillance in Contemporary Art (Cambridge Scholars Publishing (2010) and Private Views: Spaces and gender in contemporary art from Britain and Estonia (WAL/IIB Tauris, 2000).

2020Łobzowska 12 Krakow – generation to generation by Pam Skelton in Piasek | Sand by Sława Harasymowicz, (Independent Publishing Network, forthcoming July)
2020Magdalena by Pam Skelton in Salon for a Speculative Future, eds. Monika Oechsler and Sharon Kivland (MA Bibliotech forthcoming July 2020
2020Un-Censored:We Refuse to be Scapegoats by Pam Skelton in Feminist Art Activisms, Katy Deepwell (ed.) Valiz 2020 
2019Salon for a Speculative Future, group exhibition, Chisenhale Art Space, Chisenhale Studios, London
2017Pam Skelton: In the Societies of Control, artists pages and essay by Jan Kolsky Fotograf # 30 eye in the sky, Prague, CZ.
2014Conspiracy Dwellings Artists Pages in Vol 34 Lessons from History N. Paradoxa International Feminist Art Journal
2013Hotel Minerva, in the Beijing Academy Film Triennially
2013Pam Skelton, ‘In the Event of Snow’ video installation, in Cartographies of Life and Death: John Snow & Disease Mapping, London School of Hygiene & Tropical Medicine, London
2012Pam Skelton in Off the S[h]elf: the Self and Subjectivity in the artists book, Stockwell Studios, London
2012Screening, Conspiracy Dwellings in The Conversation and Surveillance, Passenger Films, Urban Lab, London
2011Pam Skelton, Hotel Minerva, video installation, in Archive of Exile, Bank Street Gallery, Sheffield.
2011Pam Skelton, Rosa, a window installation, at Goodens Gallery, 24/7, curated by Chris Meigh-Andrews   Vyner Street, London
2010Pam Skelton, Dangerous Places: Ponar, screenings in Surviving History Exhibition South Africa Tour 2010 curated by Dr Shivaun Woolfson and Frances Tay in Holocaust Centres in Cape Town, Durban and Johannesburg, South Africa
 What’s the Difference! Chromosome works by Pam Skelton, Mirror Gallery, South Hill Park Arts Centre, Bracknell, UK
2009Pam Skelton: Dwelling in the Space of Conspiracy, Institute of Contemporary Interdisciplinary Art, University of Bath. UK
 Dwelling in the Space of Conspiracy in ISEA09, Ormeau Baths Gallery, Belfast, N. Ireland
2008Pam Skelton, Ghost Town, Wisconsin Jewish Film Festival, Madison, U.S.A.
 Pam Skelton, In the Space of Conspiracy, Tallinn City Art Gallery, Tallinn, Estonia
 The Art of Birmingham 1940 – 2008, Birmingham City Art Gallery
2007/8Conspiracy Dwellings, South Hill Park, Bracknell, UK
2007Pam Skelton, Burning Poems, 2nd Moscow Biennale
 Conspiracy Dwellings // Konspirative Wohnungen: Erfurt, Germany
 Pam Skelton, Burning Poems, Sochi Art Museum, Sochi, Russia
2006Galerie L’Ollave, Preoccupations, l’ARTBORETUM, Argenton-sur-Creuse, France
2005Man (The Flaming Sideboards) Aine Art Museum, Tornio, Finland
 Death is Part of the Process, Void Gallery, Derry, N. Ireland
 Pam Skelton, Burning Poems, site specific video installations at the Anna Akhmatova Museum, St. Petersburg, Russia.
2004Strangers to Ourselves, 201 St John Street, London.
 Unframed, Standpoint Gallery, London.
 Something Strange: Aine Art Museum, Tornio, Finland.
 Self ish: Sicult, London and the Royal Albert Memorial Museum, Exeter.
2003Strangers to Ourselves: Hastings Museum and Art Gallery and in locations throughout the S.E. of England.
2002Perceptions, Museum of Modern Art, Dubrovnick, Croatia.
 Hygiene, The Art of Public Health, London School of Hygiene & Tropical Medicine
 Ghost Town, (2 screenings) Translating Class, Altering Hospitality, Congress CATH, University of Leeds.
2001Pamela Hurwitz and her Friends, exhibition of new paintings, Birmingham Institute of Art and Design, Birmingham. Institute of Art and Design Birmingham
 Pam Skelton, Liquidators 2, Gallery Katva, Rovaniemi, Finland.
 New Permanent Collection, The Centre of Attention, London.
 Mute Loops a Filmwaves commission 2001 Lux Centre, London.
 Pam Skelton, Ghost Town, Brno House of Culture, Brno, Czech Republic.
1999Private Views, Institute of Contemporary Art Dunaujvarov Hungary.
 Sale or Return, Fruitmarket Gallery, Glasgow.
 Private Views, Co- Curated with Mare Tralla, Art Museum of Estonia, Tallinn.
 VideoMedeja, Third International Video Summit Novi Sad, Serbia.
1997Virtual Vulgarity– International Biennale of the Feminist Art and Histories Conference, Reading University.
1996The Leading Edge’ The London Institute Gallery, London.
 Pandaemonium – The Digital Lab, Institute of Contemporary Art, London.
 The Unthinkable is the Unknowable – Ten Years after Chernobyl, Camerawork, London.
 Kunstler forchen nach Auschwitz, Neue Gesellschaft fur Bildende Kunst, Berlin, Germany.
 Art ’96, Letherby Gallery, Central Saint Martins, London.
1995After Auschwitz – Installations’ Imperial War Museum, London.
Pam Skelton, Dangerous Places – Ponar City Art Gallery Leeds.
Pam Skelton Dangerous Places – Ponar Gallery 101 Ottawa, Canada.
William Geer, Friends past and present – Birmingham City Art Gallery.
1994/5Pam Skelton, Dangerous Places – Ponar 7 channel video installation and ‘The X Mark of Dora Newman painting installation, Ferens Art Gallery, Hull.
1993Collaboration with dancer Rosemary Lee and ‘Threads’ Exhibition of paintings at Chisenhale Dance Space, London.
1992Pam Skelton, As Private As the Law, Galerie L’Ollave, Lyon France.
 Somatic States, The Quicksilver Gallery, Middlesex University and The Norwich Gallery, Norwich.
1991As Private As the Law, Galerie L’Ollave, Lyon France.
 Critical Practices, Bridge Gallery, Central Saint Martins College London.
 Amnesty International Art Exhibition, Lanchester Gallery, Coventry.
Borderlands, Autonomous Cultural Centre, Weimar, Germany.
1990London Art ’90, Design Centre, London.
 Central Saint Martins 7th Floor Gallery.
Sommerr Atelier, Hannover, Germany.
Gas Hall Exhibition, Birmingham Art Trust. Birmingham.
1989/90Pam Skelton, Groundplans, Ikon Gallery, Birmingham.
 Paintings, Long and Ryle Gallery, London
 Work from the Birmingham Studios, Lanchester Gallery, Coventry.
6 Artists from the Benjamin Rhodes Gallery, Richard Demarco Gallery, Edinburgh.
Pam Skelton, Benjamin Rhodes Gallery, London
 Artist in Residence, Birmingham Museum and Art Gallery
1988David Mabb, Pam Skelton, Bluecoat Gallery, Liverpool
 Grace Erickson, Pam Skelton, Southampton City Art Gallery
Large Paintings, Benjamin Rhodes Gallery, London
 Women and Water, group show, Odette Gilbert Gallery, London
1987Pam Skelton, Peintures, Gallery L’Ollave, Lyon, France
Works on Paper, Benjamin Rhodes Gallery, London
Athena Art Exhibition,(Shortlisted artist and prizewinner) Barbican Centre, London
The Day Book, large group show, Smiths Gallery, Touring.
 L’Ollave in Birmingham, Midlands Arts Centre, Birmingham
1986Pam Skelton, Paintings and Works on Paper, Benjamin Rhodes Gallery, London
1985Kate Blacker (Photos) and Pam Skelton (Peinture) Maison des Expositions de Genas, France Reflections, Sonja Boyce, Pam Skelton, Kate Whiteford, Riverside Studios, London
 Paradise Lost, Jacqueline Morreau and Pam Skelton, Ikon Gallery, Touring Exhibition.
2012Wellcome Grant and Arts Council Lottery Funded, for Cartographies of Life and Death
2009-11AHRC Speculative Grant, Commission for the project Archive of Exile in collaboration with Jessica Dubow
2007Kulturstiftung des Bund, Germany, Exhibition Grant for Conspiracy Dwellings
2007Arts Council Lottery Funded Grant
2007Sabbatical, University of the Arts, London
2006AHRC, Award, Conspiracy Dwellings exhibition project, Germany
2004-2005British Council Russia, for Burning Poems, St Petersburg
2002Institute Francais Award for Perception, Dubrovnik
2001British Council Exhibition Award
 Calouste Gulbenkian Award
 Wellcome Trust Award
1998Arts Council of England Award
 British Council, Exhibitions Award
1996British Council, Exhibitions Award
1995Major Sabbatical Award, Rootstein, Hopkins Foundation
1994Arts Council of Great Britain Exhibitions Award
1991Birmingham City Council, Travel Grant
1989West Midlands Arts Award
1987City of Birmingham Fine Art Award
 Finalist in the Athena Art Awards
1983West Midlands Arts Award
1972Lord Caron Award in Painting
 Authored publications
2010Pam Skelton, Journal Article, Antagonistic Dwellings: Surveillance in Stasi Germany, An Art Project in Special Number, Cityscapes of the German Democratic Republic, ed. Renate Rechtien, in German Life and Letters Volume LXIII No. 4. October 2010. (Wiley-Blackwell), pp 458-474.
2010Conspiracy Dwellings: Surveillance in Contemporary Art, ed. Outi Remes Pam Skelton. (Cambridge Scholars Publishing (CSP)
2006Pam Skelton, ‘Conspiracy Dwellings, there Potential as Counter Monuments’ a chapter in   Geheime Trefforte des MFS in Erfurt, (Secret Meeting Places in Erfurt), Eds. Best, H, Heinrich J, Mestrup H. (Landesbeauftragten des Freistaates Thuringen fur die Unterlagen des Staassicherheitsdienstes der ehemaligen DDR) pp 107 – 113, 2006
2004Pam Skelton, ‘Restretching the Canvas’ chapter in Unframed, Practices & Politics of Women’s Contemporary Painting, Ed. Rosemary Betterton, IB Tauris, London, New York, 2004
2003Coxall H, Skelton, P, Fletcher T, Article: ‘Hygiene: The Art of Public Health’ The Journal of Visual Culture Vol, Sage Publications, April 2003, pp133-50
2001Pam Skelton, ed Foreign Bodies 2001, catalogue, site specific artworks by students from Central Saint Martins College of Art & Design Central Saint Martins College of Art & Design/London School of Hygiene & Tropical Medicine
 Pam Skelton, Pamela Hurwitz and her friend’s exhibition catalogue and essay Ed. Swift, J, ARTicle Press, Birmingham
2000Pam Skelton introduction, ‘shifting subjects – beyond the east-west divide’ Ed.. Dimitrakaki, A, Skelton, P, Tralla, M Private Views – spaces and gender in contemporary art from Britain and Estonia pp10-17 (WAL/IB Tauris 2000).
1999Pam Skelton, Art Practice, pp 67 -78 in Disciplines, Fields and Change in Art Education, Volume 1 Art Education and Art Practice, Swift J. & Swift. J. Eds (ARTicle Press 1999)
 Pam Skelton, ‘Questions of Identities’ next Cyberfeminist International Ed. Cornelia Solfrank, (obn. Hamburg) 1999 pp32-35
1996Pam Skelton, ‘Pusca Vodica’, numero 5 Preoccupations (Association Galerie Libraire l’Ollave) Lyon, France 1996, p.5.
 Pam Skelton, Tchernobyl, 26 avril 1986, Fiction & réalité, (traduit de l’anglais par Catherine Gauffaux) pp 21 – 24, and Les Liquidateurs, (traduit de l’anglais par Bernard Hoepffner) in Tchernobly, Banquet D’Anniversaire, Agon, numero 15, (Agon E &Titanic), Marseille,1996. pp 45 – 52
1994Pam Skelton, Dangerous Places, numero 3, Preoccupations Association Galerie Librairie l’Ollave, Lyon, France 1994. pp. 1 – 8.
1986Women Artists Speak, Pam Skelton, FAN, Vol Two No.4. Pam Skelton
 Article, Pam Skelton, Women in Art Education, Circa January/February, 1986.
 Review, Claire Peillod, Les Deux Anglaises, Lyon Poche, 12-18 March, 1986
 Pauline Barry, Pam Skelton, Exhibition, Women Artists Slide Library News, August Edition 1986
1985Pam Skelton Women in Art Education, NATFHE Journal May/June 1985
 Work sited in selected books, reviews and articles
2012Caterina Albana, Fear and Art in the Contemporary World pp.179-80, (Reaktion Books, 2012)
2011Angela Dimitrakaki,Τέχνη και Παγκοσμιοποίηση [Art and Globalisation], Hestia (2011, language: Greek).
2008Mark Haworth BoothConspiracy Dwellings’ Aperture, pp.84-85
2008Konspirative Wohnungen’, Kunstforum International, Jan – Feb 2008, p.436
2008Ants Juske, ‘Briti Kunstniki Pam Skeltoni nätuse materjal pärineb Stasi ahriividest’, Eesti Paevaleht, 3 Oct 2008, Estonia
2007Elena Zaitseva, ‘Burning Poems’, 2nd Moscow Biennale of contemporary art, special Projects, pp. 78-81
2007Article, Liane von Billerbeck, Places for Informers, Die Zeit Nr 46 P.56 Feuilleton
2007Exhibition Catalogue, Konspirative Wohnungen// Conspiracy Dwellings, ed. Verena Kyselka, Jorge Schindler, Kunsthaus Erfurt 2007
2006Rachel Garfield, Towards a Re-Articulation of Cultural Identity, Third Text, Vol 20 n.1/Jan 2006
2005Ingeborg Reichle, Kunst Aus Dem Labor, Springer Wien New York, 2005. pp.39, 40, 210 – 13
2005Angela Dimitrakaki, ‘History, Theatre and Video Art: Pam Skelton’s Burning Poems’ (in English and Russian) in the exhibition catalogue Burning Poems, St Petersburg, Anna Akhmatova Museum, 2005. Commissioned by the British Council. Exhibition catalogue.
2005Rebekka Kill, Unframed, Practices & Politics of Women’s Contemporary Painting in The Art Book, Vol 12. Issue 2, 2005, pp. 33 – 34
2004Ingeborg Reichle, ‘Visionen vom Neuen Menschen?’ Kunst im Zeitalter der Gen-und Reproduktionsmedizin pp. 117 – 129 in Ins Machbare entrenzen, Utopien und alternative Lebensentwürfe von Frauen. Ed. Kirsten Beuth, Annette Dorgerloh, Ullrike Müller, Centauris Verlag, Herbolzheim, 2004.
2004Angela Dimitrakaki, ‘Femininity and Utopia in Women’s Film and Video’ in Medien Der Kunst: Geschlecht, Metapher, Code, ed. Susanne von Falkenhausen, Silke Forschler et al. Jonas-Verlag, Germany.
2002S. Seferovic, ‘Uz medunarodni zlozbeni project “Opazanje”’ Broj 26684 6. June, Dubrovnik, Croatia
‘Sto znaci vidjeti’? Slobodna Dalmacija, Kultura, Dubrovnik, Croatia
Perceptions a Dubrovnik’, Avut, Barcelona, Spain11 July 2002
 Ivica Zupan ‘Varljivo Opazanje’, Novi Cist, Zagreb, Croatia 28th July
Dodana Vrijednost Percepcije, Anton Maracic, Sridjeda, Zagreb, Coatia, 10 July
K.R. Aluzije Na Drustvenu Zbilju, Vjesnik, Zagreb29 June, p.19
Vesna Kusin, ‘Dubrovnik na Kart Izlozbenih Sredista Europe’ Vjesnik. Zagre, Croatia 28 July
Andrew Benjamin working notes 9 http:/
Helen Sumper, Hot Tickets, Evening Standard Supplement 23rd May p.40
2001Ingeborg Reichle, Kunst und Genetik: Zur Rezeption der Genechnik in der zeitgenössischen Kunst. In: Die Philosophin. Forum für ferministische Theorie und Philosphie, Heft 23, Jg. 12, Turbingen 2001, S. 28-42
Ingeborg Reichle, Kunst im Zeitalter der technischen Reproduzierbarkeit des Menschen: Sur Rezeption der Gentechnik in der zeitgenössischen Kunst. In: Kunst Text, 1/2001, ohne Paginerung (
Marjaana Niskala ‘Stories of forgotten people’ Kaleva (Finland) 26th Feb 2001 p.15
Kalle Lampela ‘Elements of Destruction’ Lapin Kansa (Finland) 3rd March 2001 p.14
 Griselda Pollock ‘Catching and Loosing the Sands of Time…. In the work of Lily Markiewicz’ in Lily Markiewicz Promise (catalogue) LRM London 2001 p.9
2000Julia Knight ‘Saying Something’ and Catherine Elwes ‘Reviewing Others’ in Catherine Elwes, Video loupe, KT Press, London 2000 p.32 and p.112
1998Angela Dimitrakaki, ‘Painting without Nostalgia: Contextualising the Visions of History in the work of Pam Skelton’, Diatribe University of Southampton Press 1998 pp 43-53
Rosemary Betterton ‘Embodied Perspectives’ ‘Representations of the female body Forum 2 Fruitmarket Gallery 1998 pp 9-10
1996Kunstler Forchen Nach Auschwitz, reviews and radio: SFB Journal in Drei 6.5.96 Barbel Jaschke, Radio Brandenburg 4.5.96, Info Radio Berlin (SF3) 3.5.96.   Info Radio Berlin (SF3) 16.5.96.   Wochenpost, 9.5.96.   Potsdamer Neueste Nachrichen 10.5.96. Der Tagesspiegel, 10.5.96, Der Freitag (Wochenzeitung) 10.5.96. Junge Welt 15/16.5.96, TAZ 22.5.96, Berliner Linke Wochenzitung 21.5.96
1996Angela Dimitrakaki ‘The Unthinkable is the Unknowable, Third Text No 35
Griselda Pollock,’ Dangerous Places – Ponar’ a video installation by Pam Skelton, Third Text No 36, pages 45 – 53 Autumn 1996
Rosemary Betterton, An Intimate Distance: Women, Artists and the Body Routledge, London 1996 pp172-181
1995Monica Bohm – Duchen After Aushwitz, Responses to the Holocaust in Contemporary Art, Southbank Centre
Catherine Elwes ‘Dangerous Places – Ponar’, Art Monthly no.185 pp 26-27
Rosemary Betterton ‘The Autobiographical as History’, Womens Art Magazine No 65 pp26
Juliet Steyn ‘After Auschwitz Installations’, Women’s Art Magazine No. 65 pp 2
Jeremy Treglown, The Blitz between Life and Art, Times Literary Supplement March 31st 1995 pp 16
Alan King Dangerous Places, Ponar, , Ottawa Citizen, Canada May
Andrew Benjamin ‘In the Place of Danger’, catalogue essay, Ponar
Bernard Hoepffner ‘We hear and We Refuse to Believe’, catalogue essay, Dangerous Places – Ponar Pam Skelton (Ferens Art Gallery)
1991Bernard Hoepfner, ‘Pam Skelton, As Private as the Law’ , Journal Le Main du Singe, May 1991, Lyon, France.
1989Colin Cruise,Pam Skelton, Groundplans,’ Arts Review 15/12/89
Sue Hubbard, ‘Pam Skelton, Groundplans’, 20/20 Magazine December 1989
Terry Grimley, ‘Strong Creative Imput’ Birmingham Post 29th November 1989
1988Max-Wykes-Joyce, Midland Contemporary Art Exhibition, Arts Review, Summer Issue, 1988.
Adrian Henry, Review Liverpool Daily Post, 26/11/88
Clare Stracey, Artist at the Heart, International Visitor 1988
1987Tessa Sidey, ‘Artists from Gallerie L’Ollave’, Arts Review 20th November 1987
‘Painting is a Real Winner’ Birmingham Post 02/87
Gordon Burn, Athena Art Award, Sunday Times, Magazine, 8/2/87.
Michel Bout, Totems et Tabous… La Marseillaise 6/8/87
1986Guy Burn, Pam Skelton, Edward Durdey, Arts Review July 1986
Monica Petzal, Pam Skelton, Edward Durdey, Time Out 2/7/86