Emma Cocker is a writer-artist and Associate Professor in Fine Art at Nottingham Trent University, UK. Her research enquiry unfolds at the threshold between writing/art, involving diverse process-oriented, dialogic-collaborative and aesthetic-poetic approaches to working with and through language. Cocker often works in collaboration with other artists on durational projects, where the studio-gallery or site-specific context is approached as a live laboratory for shared artistic research. Cocker’s writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, 2018; Live Coding: A User's Manual, 2023, and in the solo collections, The Yes of the No, 2016, and How Do You Do?, 2025. Cocker is co-founder of the international Society for Artistic Research Special Interest Group for Language-based Artistic Research. See also https://orcid.org/0000-0002-2985-7839

Exhibition: Agora - Now what?


Drawing on Drawing a Hypothesis, a video 'performance lecture' work made in collaboration with Nikolaus Gansterer is going to be exhibited as part of the following biennale.

AGORA
4th Athens Biennale
29 September–1 December, 2013
Former Athens Stock Exchange

Given that 2011 was the year of protesting and dreaming dangerously, 2013 prompts us to think responsively and come up with useful ideas and suggestions. At a time when the financial crisis in Greece and elsewhere is reaching a highpoint, the 4th Athens Biennale (AB4) cannot but respond to this bleak situation through a pertinent question: Now what? This year the Biennale will set out to explore creative alternatives to a state of bankruptcy. Using the empty building of the former Athens Stock Exchange as its main venue, AB4 proposes AGORA not only as a place of exchange and interaction, but also as an ideal setting for critique. Contrary to an idealized image of the ancient agora, this new AGORA points to a radical re-orientation in thinking—one that entails judgment, ruptures and conflict. As a contested space where multiple theses and doctrines emerge, this AGORA cannot be taken for granted: it aims for pleasure and purpose; it opts for the carnivalesque and the ambiguous, for the significant as much as the insignificant. AGORA draws on the notions of the assembly and the assemblage. Conceived both as a living organism and an exquisite corpse, it is formulated through a succession of objects, collaborative events, performances, roundtable discussions, film screenings, workshops and educational programs. In AGORA works and theses evoke that which is urgently needed at this particular moment: an engaged subjectivity, an unearthing of timely attitudes, a reevaluation of artistic strategies, a deconstruction of mystifying narratives.
My Brain Is in My Inkstand: Drawing as Thinking and Process

November 16, 2013 – March 30, 2014 

Cranbrook Art Museum
curated by independent curator Nina Samuel
Drawing on Drawing a Hypothesis is also included as part of the exhibition My Brain Is in My Inkstand: Drawing as Thinking and Process, an exhibition debuting at Cranbrook Art Museum that brings together 22 artists from around the world to redefine the notion of drawing as a thinking process in the arts and sciences alike. Sketches on paper are the first materialized traces of an idea, but they are also an instrument that makes a meandering thought concrete. Inspired by the accompanying exhibition The Islands of Benoît Mandelbrot, the exhibition uses multiple sources to show how drawings reveal the interdependency of mark making and thinking, how tracing lines is a prerequisite for all mental activity.