Roundtable: Touring and Fundraising
Leading cultural workers and producers in art, performance and dance share research and experience of navigating the public funding landscape.
| Dates | Sat 6 Dec 2005 |
| Times | 2.00-3.30pm |
| Space | Lancaster Rooms, New Wing |
| Price | Pay What You Can |
Ned McConnell, Tinisha Williams, and Sara Sassanelli share their experience of working with visual art performance and dance, offering practical insights into touring work, building sustainable practices, and forging lasting relationships with institutions.
Communities
Biographies
Tinisha Williams
Tinisha is a cultural producer, researcher and visual storyteller working across performance, theatre, film, and installation. Their research-led practice supports artist development through collaborative, interdisciplinary approaches rooted in care, access, and experimentation.
Guided by the belief that cultural production holds a responsibility to the collective, their work centres on public impact, shared experience, and joyful artistic exchange. They bridge sensory design and conceptual exploration - crafting bold, immersive experiences that invite reflection, connection, and collective ritual.
Sara Sassanelli
Sara Sassanelli is co-founder of Alice Agency and Associate of CONDITIONS studio programme. Until 2024, they were Curator of Live at the Institute of Contemporary Arts (ICA) where they programmed across dance and electronic music, with a focus on emerging artists. Their work explores collective and enthusiastic cultures that form around social dance and how these manifest in multidisciplinary practices. Their last ICA programme, this dark gleam (2024), showcased artists engaging with formal technique, social dance, pop culture, and punk sensibilities. Currently, they are collaborating with Eve Stainton, Fernanda Muñoz-Newsome, Billy Bultheel, and Jose Funnell, among others. Previously, they have worked at Tate, Goldsmiths, and the Royal Academy of Arts, and have programmed events at Ormside Projects, Somerset House Studios, Southwark Platform, Guest Projects, Arts Admin, Fierce Festival, and Block Universe.
Recent projects & programming includes: A Short History of Decay by Billy Bultheel (2024-2025), The Fugue State by Billy Bultheel (2025), The Joystick and The Reins by Eve Stainton (2025), Florence Sinclair (2025), Jack Hogan 'Carrying On' (2025- 2026), NX FUIMO by Tamara Alegre (2024), GONER by Malik Nashad Sharpe (2024), Afterlife by Louis Schou Hansen (2024) IMPACT DRIVER by Eve Stainton (2023), minus one series (2022 - 2023), Dykegeist by Eve Stainton (2021), The Last Breath Society by Martin O’Brien (2021), Rave Trilogy by Rebecca Salvadori (2020) The Tender Interval: Studies in Sound and Motion (2020), a convening exploring the transformational qualities of sound and dance practices and an all-night takeover of ICA by collective INFERNO (2020 & 2023). programming across dance and electronic music, focusing on emerging artists’ practices.
Ned McConnell
Ned McConnell is an independent curator and writer committed to fostering ethical and inclusive approaches to curatorial practice, particularly in performance, multidisciplinary art and exhibition making. Formerly curator at both the Roberts Institute of Art and Pump House Gallery, he has developed exhibitions and programmes that critically engage with contemporary art’s social, political and ethical dimensions, including major projects such as Flesh Arranges Itself Differently (The Hunterian, Glasgow, 2022) and Deep Horizons (MIMA, Middlesbrough, 2023).
He has commissioned artists who challenge institutional structures and experiment with new forms of engagement through initiatives like The Grounds We Tread (Pump House Gallery, 2016), Live Art Commissions (Roberts Institute of Art, 2022), and Practising Performance (Roberts Institute of Art, 2023–2025), working with artists including Jiri Kovanda, Sriwhana Spong, Rachel Jones, Prem Sahib, Simeon Barclay, Linder and Holly Blakey.
His writing contributes to critical discourse through essays and catalogue texts for institutions such as Flat Time House, The Hunterian and Space K, as well as contributions to Art Monthly. Supported by fellowships and grants from the Neon Foundation, Netwerk Centre for Contemporary Art and Arts Council England, McConnell has cultivated an international outlook centred on curatorial responsibility, and he has lectured at the Royal College of Art and Chelsea College of Art & Design
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