Belgian curator and academic Katleen Van Langendonck joins Grace Schwindt in conversation about Grace's practice and the crossovers between Katleen's current research into performance and the translation of the medium between visual arts and theatre.

First encountering Bethan Huws' work during the degree show at the Royal College of Art in 1988, Phyllida Barlow recalls how, ever since then, it has had an impact on her own approach to sculpture. Phyllida joins Ned McConnell for a discussion of Huws' work, how sculpture has a sensory language and what her own relationship to collecting and objects is.

Archives can be places where knowledge is passed on and cultural and personal histories are preserved. Arike Oke and Pelumi Odubanjo talk about what it means to be telling new stories with materials from the Black Cultural Archives and materials housed in other archives relating to Black British cultures and artistic production.

Acclaimed photographer Hrair Sarkissian is in discussion with independent curator and co-director of Culture+Conflict, Michaela Crimmin. Together, they explore Sarkissian’s foundational training in Damascus and how photography can be used to explore trauma, memory and identity.

Professor Richard Sommer and Matthew Spellberg meet to talk about their shared research into a transcultural history of dreaming, dream sharing and the importance of idling.

Remembering first coming across the work of Boyle Family in the contemporary art section of Manchester Library when at university, Ryan Gander chose one of the group's epic World Series wall sculptures from David and Indrė Roberts Collection to discuss.

When asked to choose a work from the David and Indrė Roberts Collection as a starting point for this discussion about their and her work, Emma Talbot quickly landed on the work of Pakistani-American artist Huma Bhabha.

Both having keen interests in the animal world, art history and mythology, Caroline Achaintre quickly gravitated to Berlinde De Brucykere when asked to choose a work from the David Roberts Collection other than her own to discuss.

An artist he has long loved and admired, artist Jonathan Baldock gravitated towards Niki de Saint Phalle when asked to choose a work to discuss from the David Roberts Collection. Topic of deliberation is her small sculpture Nana Danseuse made around 1972.

Glasgow-based artist France-Lise McGurn has chosen to talk about Art Deco painter Tamara de Lempicka’s drawing Sur La Plage, made circa 1926. This drawing from the David Roberts Collection becomes the basis for a conversation that touches on the female nude, Madonna videos and cigarette packets.