All staff can be contacted via e-mail using their first name followed by @artangel.org.uk, on +44 (0)20 7713 1400, or at the postal address in the footer.
Mariam Zulfiqar is the Director of Artangel. Prior to joining the team in January 2022, Mariam led the National Art Programme at Forestry England where she implemented a new strategic direction, developing partnership projects at the intersection of art, design, architecture, environment, and ecology.
As Deputy Director and Chief Curator at UP Projects, Mariam curated new commissions and oversaw Constellations – an artist development programme for artists working in the public domain, and This is Public Space – a programme of digital commissions that explore the internet as a site for art.
Mariam’s primary area of focus is art in the public domain and as an independent curator, she has commissioned projects for Film and Video Umbrella and Art on the Underground. In 2021, Mariam curated Bring into Being – the inaugural programme of events, activities and contemporary art at Chiswick House. The programme marked a new chapter by inviting contemporary voices in the arts and sciences to respond to the historic 18th Century site.
Mariam regularly consults for various international public art programmes and has guest lectured at academic institutions in the UK and internationally. In 2013 she was the recipient of the Queen Elizabeth Diamond Jubilee Scholarship Fund. Mariam holds a BA in Design and Public Art from Chelsea College of Art and an MA in Curating Contemporary Art from the Royal College of Art.
Mariam works Monday – Friday
Image: Mariam Zulfiqar. Photograph: Jasprit Singh
James Lingwood was Co-Director of Artangel with Michael Morris between 1991 – 2021. He has produced more than 125 projects across thirty years at Artangel including Rachel Whiteread’s House (1993–94), Michael Landy’s Break Down (2001) in Oxford Street, Gregor Schneider’s Die Familie Schneider (2004), Francis Alÿs’s Seven Walks (2005), Roni Horn’s Vatnasafn/Library of Water in Iceland (2007), Roger Hiorns’s Seizure (2008), Cristina Iglesias’s Tres Aguas in Toledo, Spain (2014) and Oscar Murillo's Frequencies (2021), as well as moving-image installations with artists such as Yael Bartana, Douglas Gordon, Steve McQueen, Elizabeth Price and Tony Oursler.
Lingwood stepped down as Co-director of Artangel at the end of 2021. As Associate Directors, Lingwood and Morris will oversee a programme of new commissions through 2022.
In addition to his work with Artangel, Lingwood has curated numerous exhibitions for arts institutions internationally, including major survey exhibitions with Bernd & Hilla Becher, Vija Celmins, Richard Hamilton, Luigi Ghirri, Susan Hiller, Juan Muñoz, Juliāo Sarmento, Robert Smithson, Thomas Struth and Thomas Schütte. He is a trustee of The Paul Hamlyn Foundation and the Holt/Smithson Foundation, and advisor to the London Design Festival, Fondazione Ratti, Como and 176/Zabludowicz Collection.
James works Monday – Thursday
Image: James Lingwood introduces José Damasceno at the opening of Plot (2014). Photograph: Ewa Herzog
Michael Morris, alongside James Lingwood, was Co-Director of Artangel between 1991 – 2021. Together they built Artangel into a significant international commissioning and production organisation, working internationally with artists across the visual arts and performance to develop artistic practice and widen the perception of art, whilst forging innovative collaborations with film and new media. As Associate Directors, Morris and Lingwood will oversee a programme of new commissions through 2022.
After working at London’s Institute of Contemporary Arts (ICA) as Director of Performing Arts in the 1980s, Michael established his own production company called Cultural Industry in 1987 – developing and presenting the work of leading international artists including Pina Bausch, Robert Wilson, Laurie Anderson, and Robert Lepage.
Michael is currently an Artistic Advisor to the Manchester International Festival, the Melbourne International Festival, and the Pina Bausch Foundation. He has been a Trustee of Longplayer since its inception in 2000 and had previously advised a number of organisations including 14-18 NOW, Roundhouse, Wexner Center for the Arts (Ohio, USA), Robert Wilson’s Watermill Center (Long Island, USA) and Alain de Botton’s The School of Life.
Michael works Monday – Wednesday and Friday
Image: Michael Morris during production of Giya Kancheli's Imber, 2003 in Imber Village, Salisbury Plain
Sam has had a long association with Artangel, working as a freelance Production Manager on numerous Artangel projects since 2002, including Steve McQueen’s Carib's Leap / Western Deep, Gregor Schneider’s Die Familie Schneider, Kutlug Ataman’s Küba, and Heiner Goebbel’s Stifter's Dinge. In 2015, Sam joined Artangel in a new capacity as Head of Production.
In addition to his work with Artangel, Sam has worked as a designer and collaborator on a diverse range of projects in both the context of contemporary art and theatre. His design projects include Siobhan Davies Dance’s Bird Song (2004), Drifting and Tilting – The Songs of Scott Walker (Barbican, 2008), Jem Finer’s Longplayer Live (Roundhouse, 2009), Ritual pour une Metamorphose (Comedie Francaise, Paris, 2013), and a handbag Museum in Seoul, Korea (Simone Handbag Museum, opened 2012). Sam has also been associated with the Manchester International Festival since its inception in 2007, working on Il Tempo del Postino (2007), Marina Abramovic Presents (2009) and The Life and Death of Marina Abramovic (2011) and most recently as Production Designer on Douglas Gordon’s Neck of the Woods (2015).
Sam works Monday – Wednesday.
Image: Artist Miranda July, Michael Morris and Sam Collins (right) at a stock meeting for Interfaith Charity Shop, London 2017. Photograph: Andy Donohoe. You can also see Sam in motion installing Jorge Otero-Pailos's The Ethics of Dust at Westminster Hall, London, 2016.
Charmian is responsible for Artangel's digital strategy and commissions. She produced the current website designed by Fabrique, Artangel’s first international open call Artangel Everywhere (2017), as well as Artangel projects Red Lines (2018) and Jerusalem (2014).
Before this, she produced websites, apps and content for organisations including ArtRabbit, Channel 4, ITV, Wadham College, and Whistles. She has an MA in Critical Writing in Art & Design from the Royal College of Art, during this time she was Editor of the college journal Arc and produced the course website. She teaches art criticism at Central Saint Martins, writes on art and technology, including for Dirty Furniture, Rhizome, and The White Review, and works as a freelance digital producer for clients including Idle Women, Roald Dahl, and Tate.
Charmian is currently on leave until 18 October 2022.
Marina supports the research, development, production and presentation of art projects at Artangel, working closely with artists as well as partners and venues to present live projects. She has been at Artangel since 2016 and has worked on several productions such as Taryn Simon’s An Occupation of Loss (2018), Andrea Luka Zimmerman’s and Adrian Jackson’s Here for Life (2019) and Thinking Time (2020) – an initiative to support early-career artists with their research.
She also manages the production of artist films including Ayo Akingbade's Jitterbug (2022), Paul Maheke's Mauve, Jim and John (2021), and Rachel Pimm and Graham Cunnington's an earshare / to cassay the earthcrust (2021), as well as supporting the production of new interpretations for live projects, such as the programme of events presented online for Elizabeth Price's SLOW DANS (2020).
Prior to joining Artangel, Marina worked as an Assistant Curator at Calvert 22 Gallery and at Nottingham Contemporary, where she worked on a number of exhibitions including; ..how is it towards the east? (2013) and Sanja Iveković, Unknown Heroine (2012). Whilst at Nottingham Contemporary, Marina led the delivery of Pablo Bronstein and the Treasures of Chatsworth (2015) and Rana Hamadeh, The Fugitive Image (2015). She graduated from Goldsmiths College in 2011 with an MFA in Curating.
Marina works Monday – Friday.
Image: Marina Doritis (standing on the right) during the production of Ayo Akingbade's Jitterbug (2022). Photograph: Mustafa Hussein.
Léa is responsible for delivering the programme for Artangel’s patron schemes.
Prior to joining Artangel, she worked as a Development Assistant for Artichoke, fundraising for large-scale public art such as the Lumiere festival in Durham and London and PROCESSIONS, a nationwide celebration of the centenary of women’s right to vote. She was also a board member of Young Arts Fundraisers, a professional network for early-career fundraisers in the cultural sector.
Léa is currently a trustee of Mimosa House – one of the UK's few non-commercial arts organisation dedicated to exhibiting women and queer artists. She graduated from the Royal College of Art in 2016 with an MA in Curating and trained in History of Art at the Ecole du Louvre.
Léa works Monday – Friday.
Mara supports the Artangel team with administrative duties, managing a busy office whilst acting as the first point of contact for all incoming inquiries. She also supports the research for the development of new projects and manages ticketing and private view invitations for all live projects.
Her previous roles include supporting the notable patron of arts, Nicoletta Fiorucci, as a Curatorial Assistant and Social Media Strategist – leading on projects with the Serpentine Galleries, Archaeological Park of Pompeii, and the Eden Project, among others.
In 2020, Mara completed an MA in Contemporary Art from Sotheby’s Institute of Art where she focused her studies on black motherhood and invisibility in the 1990s. Prior to this, she studied History of Art and Fine Art.
Mara works Monday – Friday
Gabrielle is responsible for all the day to day financial operations at Artangel
Before joining Artangel Gabrielle worked for ACAVA, an organization providing artists’ studios in London. She holds an MA in Fine Art from Chelsea College of Art, graduating in 2004, and was a participant on the Research Program at CCA, Kitakyushu in Japan from 2000-2001.
Gabrielle works Mondays, Tuesdays and fortnightly Wednesdays.
Sophie looks after The Artangel Collection, a body of moving image works commissioned by Artangel over the last 25 years and stored at Tate. She collaborates with curatorial colleagues at organisations across the UK to present these works in new contexts.
Prior to this, Sophie has been the Production Assistant and later the Touring and Digital Coordinator at Artangel, supporting the development and delivery of its programme of new commissions and facilitating digital access of online works and artist talks. Sophie studied at Central Saint Martins and Leeds Arts University.
Sophie works Monday – Friday.
Elissavet supports the research, development and delivery of Artangel's programme of new commissions.
Prior to joining, she worked at Wellcome Collection across Visitor Experience, Exhibitions and Public Programmes producing and delivering live interpretation and public engagement events with emphasis on multi-sensory and accessible engagement. She's co-managed the Voicings programme (2016) and was Assistant Curator of the Joy and Tranquillity exhibitions (2021).
In 2012, Elissavet completed an MA in Art History and Curating from the University of Sussex, with a placement at Tate.
Elissavet works Monday–Friday.
Image: Elissavet looking at the singing bowls used to perform Longplayer Live at Longplayer's flagship location at the Lighthouse in Trinity Buoy Wharf, London, during Sonic Ray (2021). Photograph: Georgie Joseph
Merve (mar-veh) works collaboratively with artists, lead producers, and external partners to shape the messaging of each project. She is responsible for creating digital and print campaigns that inform a wide audience on Artangel’s past, present, and future projects, and looks after outreach across social media, website, and all project-related communications, including managing PR relations and issuing advertising.
Merve joined Artangel having just completed an MA in Migration and Diaspora Studies at SOAS. Her research focuses on how visual arts spaces can either foster or neglect community outreach, authentic representation, and identity curation for Muslim women in London.
Prior to joining, she was Marketing & Communications Manager at Forma Arts & Media and has been working in marketing since 2014 for the likes of London Art Fair, iMT Gallery, and Penguin. Merve has a thorough background in upgrading the digital capacity of the organisations she has worked for and is dedicated to engaging a variety of audiences by creating accessible copy and visuals and offering creative ways of engaging with projects through programming.
Merve works Monday – Friday.