All posts by Giovanna Morra

Sława Harasymowicz, Stage-point 1 

16.03.2018 (Friday), 18:00.

Meet at: Galeria Bunkier Sztuki

This event accompanies the exhibition „The Trouble with Value”

Stage-point 1 is a participatory performative event dedicated to a building at Łobzowska Street, Kraków, once the artist’s childhood home. Recently discovered scope of the building’s history in the immediate post-war years, along with subsequent transformations of its space/functions, contribute to 12/6, an installation presented in the exhibition and part of the artist’s exploration of the concept of ‘home’.

Comments found in contemporary virtual reality, attest:

it seemed that Not many people lived in the building

 

way better than the real thing

Nida Doctoral School – Call for Applications

 

Nida Art Colony of Vilnius Academy of Arts
Call for applications: the 4th Nida Doctoral School course “Naked on the Beach. On the Exposition of Artistic Research”
 
26 August – 2 September 2018
For DA and PhD students in visual and performing arts, design, architecture, humanities and social sciences
Application deadline: 15 March 2018
 
Working alongside questions that are pertinent to individual research, a host of expositional concerns for PhD and DA researchers will be discussed and performed during the course. In this way, participants will collectively tackle issues such as: When you install your art/research/artistic research into a space, does it (always and necessarily) become an exhibition? When you lay-out your work into a publication, does it become a catalogue, a reflection, or something else? Can artistic research be shared, communicated, shown, narrated, performed? What is the most suitable way to present your artistic research so it speaks to artistic and academic audiences? How to be proficient in publishing by making your work relevant to academic readers, while, at the same time, ensuring it is pertinent to art professionals and wider audiences? How can we make a hybrid exposition or a hybrid paper which will have both academic and artistic qualities? How to communicate artistic practise, while avoiding compromises and pressures of having to conform to the usual research presentation?
 
In 2018 NDS has the pleasure to welcome three GUEST SPEAKERS:
       Prof Dorita Hannah, University of Auckland School of Architecture (NZ), Adjunct Professor of Creative Arts at UTAS (Australia) and Stage & Space with Aalto (Finland). Co-editor of Performance Design (2008) and author of Event-Space (2018).
       Dr Michael Schwab, artist and researcher, Chief-editor of Journal of Artistic Research, co-editor ofExposition of Artistic Research: Publishing Art in Academia (2013), editor of Experimental Systems. Future Knowledge in Artistic Research (2015).
       Prof Henk Slager, Dean MaHKU Utrecht, co-curator of Research Pavilion in Venice Biennale 2015 and 2017, co-editor of Futures of Artistic Research (2017), and author of Pleasure of Research (2015).
       Distinguished TUTORS from partnering schools – Dr Prof Mika Elo, Dr Assoc Prof Vytautas Michelkevičius, Dr Reader Joanne Morra, Dr Prof Sofia Pantouvaki – will also contribute to the course.
 
What is Nida Doctoral School?
In Nida we explore unorthodox approaches to research. Through making, performing, writing, exposing and discussing we test the possibilities for generating knowledge outside of the conventional venues and models of academic research. NDS participants are offered a possibility to position their own research and practice within a broader field of research approaches. NDS aims to open up the horizons for experimental development through intersecting with a diversity of disciplines and experiences. The goal of NDS is to provide time, space and a conceptual framework for participants to gain insight into their research field as well as to broaden and diversify their outlook and methodological tools.
Nida Doctoral School was initiated by Nida Art Colony of Vilnius Academy of Arts and Aalto University School of Arts, Design and Architecture. The University of the Arts Helsinki and the University of the Arts London joined the platform in 2016-2017.
NDS is tailored for doctoral students in visual and performing arts, design and architecture. However, there are also limited places for students within the humanities and social sciences if their research is related to arts, design and architecture. The programme comprises intensive courses organised once a year at VAA Nida Art Colony, and doctoral residencies. Please check the Colony’s call for residency applications to find out more about the doctoral residencies. Upon successful completion of the NDS course participants gain 5 ECTS credits.
 
Tuition, funding, costs & application
There is no tuition fee. Free accommodation and catering is provided for selected applicants from Aalto, UniArts Helsinki, UAL, and VAA. In addition, Aalto, UniArts Helsinki and UAL students are provided with a travel grant. 
UK applicants should refer to VAA Nida Art Colony website for further information on financial assistance byChase and Techne.
Other participants are expected to cover their accommodation and catering costs, which make 400 EUR/person, and travel costs.
Please follow the application guidelines.
 
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Congratulations to Armenoui Kasparian Saraidari

The Doctoral Platform at CSM is delighted to announce that Armenoui Kasparian Saraidari has successfully defended his PhD.

 

Armenoui’s PhD is entitled: The Materiality of Photography and the Memory of the Armenian Genocide

Armenoui’s supervisory team is composed of: Dr Joanne Morra (DoS),  and Pam Skelton.

PLURAL FUTURES presents GREEN WEEK

 

Series  12 – 16 FEBRUARY  | ACROSS CSM
PLURAL FUTURES acknowledges the broad range of approaches to sustainability within the art and design practices of CSM students and staff. The Green Week programme aims to showcase a snapshot of those approaches, find connections and provoke further discourse and action.

The 2018 programme includes a launch party in the Studio Theatre, talks with Greenpeace and LVMH, workshops on Deep Listening and Life and Death Toolkits, a lunch at our neighbours the Skip Garden, and an exhibition in the Green Hub.

Visit the event page to find out more about what’s on offer, and how to get involved. All events are open to both staff and students, but some require you to sign up.

Psychoanalysis and History Seminar 2018

February 14, 5.30-7pm

Karl Figlio (Essex), ‘Remembering as Reparation in Psychoanalysis and Post-war German History’

Institute of Historical Research

Senate House, Malet Street, London WC1

Past and Present Room N202

ALL WELCOME, no need to book

**

 

The rest of this year’s programme is below; please note that Kate Hodgkin’s paper is now scheduled for May 30th.

Wednesdays, 5.30-7pm

Venue: IHR, Past and Present Room N202

 

March 14, 5.30pm

Helen Tyson (Sussex) ‘Forebodings about fascism: Marion Milner reads Virginia Woolf’.

 

April 18, 5.30pm

Philip Kuhn, ‘Obscene publications in early 20thc England: or why was Freud’s work never censored?’

 

May 16, 5.30pm

Matt Ffytche (Essex), Reading ‘Autobiography of a Generation’

 

May 30, 5.30pm

Kate Hodgkin (UEL), ‘Memory and the languages of loss in seventeenth-century life writing’

 

Convenors:

Sally Alexander (Goldsmiths)

Kate Hodgkin (UEL)

Barbara Taylor (QMUL)

 

 

 

 

Katy Pettit 
Administrator, Raphael Samuel History Centre
www.raphaelsamuelhistorycentre.com   @RSHistCentre

 

 

LDoc Lectures: Data

Dear all

LDoc Keynote Lecture: Data

Monday 19th March, 6pm

Lecture Theatre 1, RCA Kensington

LDoc is proud to present a remarkable panel of experts to talk about data, focusing on data that represents people and the profound issues that this raises.

The speakers have backgrounds in the sciences and humanities; they work in the research arm of a global corporation, as CEO of a specialist data company, and in academia. How should data represent similarity and difference? How can big data benefit the individual? What does historic data reveal about our social and political past – and how can that past be brought alive?

Three presentations and a panel discussion will address these issues with vivid examples from the speakers’ own work.

 

Speakers:

Dr Siân Lindley: Data and its Street Life

Francine Bennett: Data, Science, People

Dr Katrina Navickas: Democracy in Place

 

Chair:

Professor Stephen Boyd Davies

 

All attendees are invited to a drinks reception following the panel discussion.

This event is open to the public, please invite anyone who may be interested. Please contact ldoc@rca.ac.uk if you have any questions.

Register for tickets: https://www.eventbrite.co.uk/e/ldoc-keynote-11-lecture-data-tickets-41419604151

 

Temporalities: Fine Art moving image at CSM: present, future, past

Lethaby Gallery, Central Saint Martins
Granary Building
1 Granary Square
King’s Cross
London N1C 4AA

20 February – 24 March 2018 

Tuesday to Friday: 11am – 6pm 

Saturday: 12 noon – 5pm 

 

Temporalities is a research exhibition drawing on the rich history of fine art moving image at Central Saint Martins and projecting that practice into the future.

Following 1960s developments in experimental film, moving image made a radical impact on Fine Art in the ’70s and ’80s, and since the 1990s has become an established medium in contemporary art practice. Temporalities celebrates Central Saint Martins’ crucial position in the history of artists’ films, placing work by alumni and staff (including Isaac Julien and Laure Prouvost) alongside work by current students. Central to Temporalities is Correspondence, an exhibition of installation and moving image works by students from across the CSM MA programme responding to work by former students.

Temporalities will also be accompanied by talks, screenings and live teaching events exploring changes in pedagogy and media. This exhibition has been jointly curated by Steven Ball, British Artists’ Film and Video Study Collection, and the Central Saint Martins Museum and Study Collection in collaboration with the Fine Art programme at Central Saint Martins.

 

CORRESPONDENCE 

Correspondence consists of moving image based installation works by current Central Saint Martins students from MA Fine Art, MA Contemporary Photography: Practices and Philosophies and MA Art and Science. The installations are responses to past students’ film and video work held in the Fine Art Programme archive.

 

Susan Trangmar (Reader Fine Art) and Steven Ball (Research Fellow Fine Art) have worked closely with the students to develop this project. The responses take many forms and draw upon a variety of aesthetic, technical, media, and conceptual concerns. They variously reflect a continuity and development of, and divergence from, the themes and approaches of earlier generations of Central Saint Martins students.

Throughout the exhibition the original works will be screened alongside the new responses.

Works included:

The Place of the White Dog  

Marianne Casmose (MA Fine Art)

responding to Proper Seasons by Justin Ascott (1998)

We’re Waiting  

Diana Lloyd (MA Contemporary Photography: Practices and Philosophies)

responding to Coastings by David Sinden (1995)

Soleil, Image, Memoire  

Nathalie Mei (MA Contemporary Photography: Practices and Philosophies)

responding to Soleil, Image, Memoire, Anon (1985)

Time is all There Is  

Marco Pantaleoni (MA Fine Art)

responding to Time is all There Is by Suse Bohse (1995)

After Contempt

Emma Starkey (MA Fine Art)

responding to Video Contempt by Daniel Copley (1994)

“I am so aware of my body” 

Çağlar Tahiroğlu (MA Art and Science)

responding to Arrows by Sandra Lahire (1984)

A Strange Train  

Shu Zhang (MA Fine Art),

responding to Video Contempt by Daniel Copley (1994)

 

Events

Correspondence Tour
Thursday 22 February 13:00, Lethaby Gallery
A gallery tour of the Correspondence exhibition with Marianne Casmose, Diana Lloyd, Nathalie Mei, Marco Pantaleoni, Emma Starkey, Çağlar Tahiroğlu, Shu Zhang, Susan Trangmar and Steven Ball, with responses from Paul O’Kane.
“I am so aware of my body” 

Wednesday 7 March 13:00, Lethaby Gallery
Sandra Lahire was a central figure in feminist artists’ film until her death in 2001 after a long struggle with anorexia. Marina Grzinic has observed that for Lahire the body is “the primal element she uses to establish her relationship with her surroundings”.  Çağlar Tahiroğlu (MA Art and Science), who has made a work for Correspondence responding to Lahire’s film Arrows, made while Lahire was a student at St Martins’, will be in conversation with artist filmmaker Sarah Pucill about Lahire’s work and her own responses to it.

 

Curating VR and New Media

Thursday 8 March 13:00, Lethaby Gallery
Artists and makers are increasingly engaging with new technologies and it is estimated that within the next five years augmented and virtual reality will be part of the basic toolkit for creative practitioners. This event brings together those working in or developing pedagogic practices around new technologies with those tasked with the challenge of curating and preserving born digital artworks.  With Nelson Crespo (4D Co-ordinator, CSM), Jack McConchie (Time Based Media Conservator, Tate), Louisa Minkin (MA Fine Art Course Leader, CSM) and Judy Willcocks (Head of Museum & Study Collection, CSM).

 

Teaching Artists

Screening curated by David Curtis
Monday 12 March 17.30 – 18.15, Lethaby Gallery and 18.30, Lecture Theatre E003
Booking required: https://csmevents.co.uk/
Curated by David Curtis (writer, curator, and founder of British Artists’ Film and Video Study Collection, CSM) this screening focuses on artists who have taught at Central Saint Martins from the 1960s to the present day. It includes work by John Latham, Malcolm Le Grice, Tina Keane, Anne Tallentire and others.

 

Collecting Artists’ Film and Video

Tuesday 13 March 13:00, Lethaby Gallery
Dedicated to the work of moving image artists, the British Artists’ Film & Video Study Collection is part of the Central Saint Martins Museum and Study Collection. The collection exists to support research and comprises many copies of moving image work, publications, paper documents and still images. It reflects the development of the moving image as an art-form between 1960 and 2000. It is the largest collection of material of its kind in the UK. David Curtis, Steven Ball, and Duncan White (Research Fellow and MRES:Moving Image Course Leader CSM) discuss the unique role that the British Artists’ Film and Video Study Collection, and the various projects it has generated, play in the research and study of artists’ moving image.

 

Feminist Circles at St Martin’s and beyond

Wednesday 14 March 13:00, Lethaby Gallery
Jean Matthee (artist), Sarah Turner (artist and Reader in Fine Art, University of Kent), and chair Lucy Reynolds (artist, writer, and curator, Senior Lecturer University of Westminster), discuss the important influence that feminism had on moving image practice, both at St Martin’s and beyond, during the 1980s, and its continuing relevance as a political and philosophical underpinning for contemporary practice.

 

Feminist Circles at St Martin’s

Screening curated by Charlotte Procter (Archivist, Cinenova Distribution)

Wednesday 14 March 18:30, Lecture Theatre E003

Booking required: https://csmevents.co.uk/
Founded in 1979 Circles was the first women artists’ film and video distribution organisation in Britain. It emerged from the increasingly politicised cultural climate of the late 1970s, in which the Women’s Movement played an influential part, and it provided an essential role in the promotion and distribution of exclusively women filmmakers, supporting filmmaking which varied from political and social document to more experimental modes of practice. During the 1980s, St Martin’s became an important site for the development of the relationship between Feminism and artists’ moving image practice, which is reflected in the representation of many teachers’ and students’ works in the Circles catalogue.

 

Flowers of Romance

Friday 16 March 13:00, Lethaby Gallery
William Fowler (Artists’ Moving Image Curator, British Film Institute) in conversation with Steven Ball (Research Fellow Fine Art, CSM) on the work of the new generation of film and video makers, many of whom came out of St Martin’s, who emerged in the charged post-punk ‘new romantic’ days of the early 1980s, and forged new imaginative forms of representation and expression for changing social, individual, and political identities.

 

Just Images
Screening curated by William Fowler
Friday 16 March Lecture Theatre, 18:30 E003

Booking required: https://csmevents.co.uk/

This is Now: Film and Video After Punk celebrates the diversity of independent moving image production from the UK in the 1980s, a unique moment when cheap new technologies enabled new voices to be heard. A new aesthetic developed that would shape the look of film, television, fashion and music for many years to come. In Just Images the moral, political and symbolic integrity of the image itself is interrogated and overturned in these richly textured films. Includes work by Cerith Wyn Evans and Isaac Julian, some made while studying at St Martin’s.

 

Scratching the Structure

Wednesday 21 March 13:00, Lethaby Gallery
Malcolm Le Grice founded the Film Unit at St Martin’s in 1965, and is one of the UK’s most well-known experimental filmmakers. He is often particularly associated with ‘structural’ film. George Barber, who studied at St Martin’s in the late 1970s, with his invention of Scratch video became one of the most renowned video artists of the 1980s. As such their work represents distinct innovative experimental moving image practices. Here they will discuss their work with regard to both the discrete specificity of film and video media, and the commonalities of their practice.

 

Central Saint Martins: Moving Image Connections

Thursday 22 March 13:00 Lethaby Gallery

We start this conversation by looking at the early connections between the St Martin’s Film Unit and the London Filmmakers’ Cooperative with Malcolm Le Grice and Kathryn Siegel (PhD King’s College London). Anna Thew joins in to discuss the many outside film and video screenings that she organised when she taught at the college in the 1980s, and Fine Art Programme Leader Alex Schady reflects on CSM’s very particular contemporary position in relation to the exhibition of moving image work, and the changing nature of the art school as a cultural institution.

 

For the latest details see:

http://www.arts.ac.uk/csm/whats-on-at-csm/lethaby-gallery/temporalities/

 

MA Fashion at London Fashion Week

 

Catwalk show    FRIDAY 16 FEBRUARY, 8PM
London Fashion Week takes place this month with half the schedule made up of our alumni including Mary Katrantzou, Christopher Kane, Michael Halpern, Simone Rocha, Molly Goddard and many more. Returning for their annual scheduled show, our final year MA Fashion students are presenting their final collections on Friday 16 February. Be sure to follow MA Fashion on Instagram for updates from the show.

Women’s Art Library and Feminist Review 2018 Bursary

The Women’s Art Library and Feminist Review are pleased to announce the 2018 Bursary offering £1200 for a 3 month research residency in the Women’s Art Library, Special Collections and Archives, Goldsmiths, University of London. This call is open to all students, artists and curators.

 

Closing date for applications is 16th April

 

https://www.gold.ac.uk/library/collections/special-collections/prizes/

 

The Value of Social Design – When is it Good Enough?

Thursday 15th Feb 1.00 – 2.00 in D115/7, CSM.

Thomas Markussen, Associate Professor of Social Design

& Eva Knutz, Post Doc Researcher 

Unite for Social Design, Department of Design & Communication, University of Southern Denmark

Duration: 60 min

Abstract

One central question being scrutinised in current discussions on social design is how to account for the social value achieved through this research practice. Often social design is conflated with related areas such as social innovation and social entrepreneurship. However, in their talk Markussen & Knutz will make the case that social design differs from social innovation and social entrepreneurship on a number of levels. This argument will be substantiated in two ways. To frame the talk, conceptual distinctions and definitions will initially be made based on the review of existing research literature. In addition, Markussen & Knutz will be presenting results from two of their on-going social design research projects within health care and prisons.