All posts by Giovanna Morra

Call For Participants: Memory and Borders: Examining Nationalism and Identity Through Material Culture

 

Borders, their effect and their history, have become a recurring theme of global politics today; Brexit and the border between Northern Ireland and the Republic of Ireland, diplomatic negotiations between North and South Korea and the history of the Berlin wall are examples of stories that have occupied discourse on the concept of borders. While nations may be a modern geopolitical category, their physical demarcations have had significant influence on the formation of memory and identity. Thus, to what extent are our shared or individual memories shaped or limited by borders? How do geopolitical boundaries influence a sense of national identity? What is the legacy of a national ‘border’?

This is a call for participants to engage in a workshop discussing memory and borders. Its purpose is to encourage cross-disciplinary discourse on the theme of memory and borders. Students, academics, designers, artists, philosophers, writers, journalists, filmmakers, thinkers and creators will come together to foster a conversation concerning the idea of the ‘border’ as a material or ideological barrier or impasse and the impact that these borders have on individual and collective memory. We will discuss ideas around the theme of “Memory and Borders” through material cultures, in a discursive format that includes work and research (-in progress) presentations, and round-table discussions. Abstracts of work, and work in progress can be based on, but not limited to, the following themes:

  • National identity and memory
  • Conflict and memory
  • Violence and trauma in memory
  • Material culture and memory
  • Materiality of borders
  • Nationalism, fracture, independence, identity and divisions through objects
  • Gerrymandering and democracy

    Please send a (maximum) 150-word abstract to memoryandborders@gmail.com by 17:00 on December 15, 2018.

    This event will be held on February 11, 2019 at the Victoria and Albert Museum, London, UK. Participants that will be selected to present will be compensated for travel (from within London).

    This event will be made possible with the generous help of the Design History Society Outreach & Events Grant.

Contemporary Art in the Heritage Experience Conference 2019

 

In recent decades, contemporary art commissioning has become a key aspect of heritage site programming with national organisations and individual sites investing in artists as a way of developing new opportunities for public engagement with heritage. For many artists, temporary commissions for heritage properties is an increasingly important strand of their practice. Yet despite significant developments, and organisational support from the arts and heritage sectors, there is little understanding of the contemporary arts in heritage field.

Contemporary Art in the Heritage Experience is a two day conference (29-30 July 2019), delivered as a critical part of ‘Mapping Contemporary Art in the Heritage Experience’ (MCAHE). It provides a platform to discuss the broader character of contemporary art in heritage and the impact of such projects on their producers and audiences, sharing knowledge of this practice across the sector for those engaged in or wishing to develop this area of practice. The conference is focused on the key themes of Creation and Encounters, and we invite papers, presentations and ‘visual or audio formats’ (such as posters and short films) from artists, curators, heritage professionals, academics, researchers and research students. All presentation formats to be a MAXIMUM of 20 minutes in length. We particularly invite submissions which explore the following themes and topics:

Creation theme – The challenges, motivations and experiences of creating contemporary art works for a heritage context. Reflections on the impact of such projects on artistic and curatorial practice.

Encounters theme – Encountering contemporary art in heritage: impact on visitors, host organisation, staff and volunteers.

Abstract submission

Abstracts of up to 300 words in length should be sent to mcahe@ncl.ac.uk. Abstract submission closes 31 January 2019. Please include the following details:

Your title, full name and affiliation (if applicable).
Your email address.
Working title of abstract.
Presentation type (oral presentation, poster, film or audio formats). Abstract (up to 300 words total).

 

The conference programme will be confirmed in March 2019.

Registration opens 1 April 2019.

For more information please follow updates on our website

https://research.ncl.ac.uk/mcahe and follow us on Twitter @mcahe_NU

‘Mapping Contemporary Art in the Heritage Experience’ (MCAHE) is a collaborative research project between Newcastle and Leeds Universities. This three-year research project(2017- 19) is funded by the Arts and Humanities Research Council (AHRC) and delivered in collaboration with UK heritage partners The National Trust, English Heritage, Arts & Heritage, The Churches Conservation Trust, the Contemporary Visual Art Network and Arts Council England. The project includes four commissions by award-winning UK artists, Fiona Curran, Mark Fairnington, Matt Stokes and Andrew Burton and two works commissioned in collaboration with partners by Susan Philipsz and Marcus Coates.

 

 

      Art Auction 2018

 

Exhibition and auction   EXHIBITION: 8–15 NOVEMBER | AUCTION: THURSDAY 15 NOVEMBER, 6–8.30PM
LETHABY GALLERY
The Art Auction takes places in the Lethaby Gallery week, bringing together an incredible collection of donations from acclaimed artists, as well as artworks fresh from the studios of our current students and recent graduates.

Lots in the live auction include generous donations from a host of previous Turner Prize winners and nominees. This year, we are delighted to include Raqib Shaw, Antony Gormley, Mona Hatoum, Laure Prouvost, Grayson Perry, Kathy Prendergast, Matthew Krishanu, Peter Doig and Emma Talbot

The exhibition is open to all, to attend the auction please register via the website.

 

 

 

Women into Product Design 

 

Talk    WEDNESDAY 14 NOVEMBER, 6.30-8PM | LVMH LECTURE THEATRE, CENTRAL SAINT MARTINS

A celebratory panel discussion about gender in product design, featuring BA Product Design alumni.

Established designers who graduated from BA Product Design will share their experiences, illuminating and exploring commonalities and differences. Each guest speaker will present insights from their career, before participating in a panel discussion chaired by Dr Betti Marenko, Contextual Studies Leader on BA Product Design.

Speakers include: Roselle Lam, Kaye Toland, Afroditi Krassa, Michiko Nitta, Ella Dorfman and Jane Penty.

Tickets are free for UAL students and staff – find out more about the event.

MA Culture, Criticism and Curation Final Projects

Series    NOVEMBER – DECEMBER | VARIOUS LOCATIONSE

Our MA Culture, Criticism and Curation students present their final projects between now and December. Working in partnership with international and national organisations, artists, designers and writers, students have devised a publication and a series of exhibitions and events that consider activism and representability, identity and the self, gender and work, community and experience. Find out more about the projects.

  • Hair Matters, 9 – 29 November | MA CCC and vFd (exhibition) 
  • Went to Work, Came Back, 9 November – February 2019 | MA CCC with REcreative Editorial Board, South London Gallery (workshop and exhibition) 
  • Persona, 12 – 16 November | MA CCC with the Institute of Psychoanalysis and the International Journal of Psychoanalysis (exhibition) 
  • Unknown Quantities 6 – Space and Place | MA Culture, Criticism and Curation and MA Graphic Communication Design (publication launch)  

Dana Research Centre

 

The Science Museum’s Dana Research Centre and Library based at 165 Queens Gate is home to Science Museums Library and Archive services in London. It is open five days a week, Monday to Friday, from 10.00 to 17.00. Visitors can consult around 6,000 books and journals covering museum studies, the history and biography of science technology and medicine, and the philosophical and social aspects of these subjects. You do not need a prior appointment for browsing the open access collections OR for using our online catalogue.

 

The Museum’s world-class library and archive collections of over half a million items are stored at the National Collections Centre at Wroughton, near Swindon.

 

Researchers may consult the collections stored there by prior appointment on Fridays only, from 10.00 to 17.00. Small quantities of material can also be ordered for consultation in London at the Dana Research Centre and Library.

 

You will need to book ahead if you have ordered archives, rare books, anything published over 100 years ago, or microfilms and microfiche.

 

 

 

 

approaching estate

 

the politics and ethics of fieldwork in art today

Furtherfield Commons, Finsbury Park, London, week commencing 8 April 2019 (exact dates to be confirmed) Organizers: Steven Ball and Susan Trangmar (sensingsite, Central Saint Martins) in collaboration with Furtherfield.

Approaching Estate is a week-long series of presentations and workshops which will examine the politics and ethics of fieldwork in contemporary art practices concerned with place, in order to develop critical, innovative and experimental engagements.

‘Estate’ suggests the parcelling, ownership and governance of physical space, founded upon historical, agrilogistic and colonial practices whose legacy has determined the status and identity of both human and nonhuman entities. Approaching Estate will also consider ‘estate’ as a broad community of interests and rights, pertaining to the materiality of space, how it is configured, managed, and conceptualised as place. As such it will acknowledge the current conditions of communities, material processes, and sites in the context of the continuing debasement of democracy, and the contemporary precarity of individual and community rights to movement and occupation of space. These relate to, and can be traced through, historical and contemporary forms of enclosure, land ownership, the commons, public space, colonialism, incarceration, expulsion, transportation, clearances, dispossession, extractions, depositions, and so on.

‘Fieldwork’ is used to broadly describe the artistic methodologies which engage in material enquiries into site and situatedness which are socially, politically, ecologically, historically and geographically entwined. As such they are often interdisciplinary practices and might be concerned with landscape construction, site-specificity, and social engagement; engaging with disciplines and activities such as archaeology, geography (human and physical), eco-studies, activism, mapping, and so on. Our aim is to set new agendas for fieldwork in art practice through development of a research network for experimental ways of working in art practice.

During the event we are interested in pursuing questions such as:

  • What forms of methodological enquiry emerge from art practices concerned with specificity of site and place?
  • What is the efficacy of such methodologies, and how do we evaluate them?
  • What are the protocols and terms of engagement in site specific fieldwork?
  • Who are the beneficiaries of the work produced?
  • What is artistic or social agency (the role of the art) and what other intra-active engagements (human and non-human) are possible?
  • How can the differing interests of collaborators working in an interdisciplinary context be shared meaningfully and productively?

We invite individual and group proposals for presentations, performances, artworks and any other experimental forms of practice-based research. Please send a proposal of not more than 300 words with brief biography and a maximum of 3 images to sensingsite@gmail.com by 30 November 2018

sensingsite is a practice-based research group based at Central Saint Martins, engaging with questions around the political, material, and sensory natures of site, place, and space.

Furtherfield connects people to new ideas, critical thinking and imaginative possibilities for art, technology and the world around us. Through artworks, labs and debate people from all walks of life explore today’s important questions.

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NEW Work

Exposed Arts Projects (a non-profit art gallery run by CSM PhD student Sasha Burkhanova-Khabadze) is proud to announce NEW WORK, an exhibition by artists Candida Powell-Williams and Thomas Yeomans. 
 
The methods, applied in creating NEW WORK, enact two distinct logics of encrypting, mastered by Powell-Williams and Yeomans – in a spiritual proximity to one another, enabled by their long-term friendship. The first logic, developed by Powell-Williams, recognises meanings in echoes and repetitions. It enables the artist to identify recurring symbols in the familiar systems of codes and move them around – gently yet firmly reprogramming the original narratives they belong to. The second logic – advanced by Yeomans – manifests itself in a vivid language of undercover persuasion. The agency of invocations here relies on the particular grouping of symbols, images and words that affect human-beings on extra-conscious levels. When activated at the same time, these two logics serve as two different routes for the viewer to experience NEW WORK: a magical riddle in itself that can be solved in (at least) two ways.
 
The exhibition will take place from 03NOV to 14DEC 2018, with the Private View on 02NOV @ 18:00 – 21:00. As always at Exposed, it is free and open to all.  For more information please contact us at hello@exposedartsprojects.com or visit http://www.exposedartsprojects.com/new-work-powellwilliams-yeomans
*
Images from work by Thomas Yeomans, and Candida Powell-Williams

Russian Dada: Moscow, Berlin, Paris, New York

 

Dr. Margarita Tupitsyn – Independent scholar, curator and critic

WED 14 NOV, 2018

The Courtauld Institute of Art, Somerset House, Strand, London

Organised by Dr Klara Kemp-Welch – The Courtauld Institute of Art

Open to all, free admission

 

Formalist critic Roman Jakobson noted that the Russians travelled toward the October Revolution ‘through a realization of the violence of artistic form’ that in the West had culminated in Marcel Duchamp’s Fountain, executed in the same year. This talk explores this and other acknowledgements (by Hans Richter, Osip Brik, and Ilya Ehrenburg) of “dada tactics” in the Russian avant-garde with a goal to build a long, protracted bridge between the Dadaists and those Russian artists who visited or lived in Europe and  the US in the early 1920s. Natalia Goncharova, El Lissitzky, Mikhail Larionov, Ivan Puni, Sergei Sharshun, and Ilia Zdanevich joined various Dadaist factions, exhibited in Berlin’s Der Sturm gallery, and organized and participated in key Dadaist events. Also discussed are Lissitzky’s popularization in Germany of Malevich’s and his own nonobjectivity, and Vladimir Tatlin’s Monument to the Third International that Berlin Dadaists labeled an epitome of antiart.

 

Dr. Margarita Tupitsyn is a Russian-born American scholar, curator and critic.  Her books and exhibitions include Soviet Photograph (1996), Malevich and Film  (2002), Against Kandinsky (2006), Rodchenko and Popova: Defining Constructivism (2009), and Moscow Vanguard Art (2017). Recently she co-edited Anti-Shows: APTART 1982-84 (2017) and edited Russian Dada, published by MIT Press in conjunction with a homonymous exhibition that Tupitsyn curated at Museum Reina Sofia, Madrid in 2018.

The lecture will followed by a drinks reception in the front hall.

https://courtauld.ac.uk/event/russian-dada-moscow-berlin-paris-new-york

Exhibition Histories Talks: David A. Bailey

We are pleased to announce the sixteenth in our series of talks analysing and contextualising exhibitions through the personal accounts of the curators responsible, co-organised with Whitechapel Gallery, London.

On Thursday 18 October, artist and curator David A. Bailey will be in conversation with editor and researcher Louis Hartnoll discussing ‘Mirage: Enigmas of Race, Difference and Desire’ which took place at the Institute of Contemporary Arts (ICA), London in 1995. Opening up the two-month exhibition to include a series of artworks, performances, film screenings and an extensive discursive programme, ‘Mirage’ sought to interrogate the legacy of Frantz Fanon’s Black Skin, White Masksand its core themes of anti-colonialism, psychoanalysis, philosophy and critical race theory.

 

Exhibition Histories Talks: David A. Bailey
Thursday 18 October, 18:30–20:00

Whitechapel Gallery

77-82 Whitechapel High Street

London

E1 7QX

Tickets: £9.50 (Concessions £7.50). Tickets will shortly be made available on the Whitechapel Gallery website.

 

This event is a collaboration with Whitechapel Gallery, London and part of the Exhibition Historiesresearch and publication project, developed by Afterall and published in association with Asia Art Archive, Hong Kong and the Center for Curatorial Studies, Bard College.

 

The Exhibition Histories series is distributed by Koenig Books, London.