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’



Sally Alexander (Goldsmiths)

Kate Hodgkin (UEL)

Barbara Taylor (QMUL)





Katy Pettit 
Administrator, Raphael Samuel History Centre   @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.



Dr Siân Lindley: Data and its Street Life

Francine Bennett: Data, Science, People

Dr Katrina Navickas: Democracy in Place



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 if you have any questions.

Register for tickets:


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 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)



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:
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:
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:

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:


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


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


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.


Becoming Image: Medicine and the Algorithmic Gaze 

Call For Papers and Artist Submissions 

An interdisciplinary Symposium 23 May 2018 at UCL 


Liz Orton, visual artist, Digital Insides and London College of Communication

Dr Aaron Parkhurst, Department of Anthropology, UCL

Dr Timothy Carroll, British Academy Postdoctoral Fellow, Anthropology, UCL

Professor Steve Halligan, Director of the Centre for Medical Imaging, UCL


The history of medicine can be understood as an ongoing endeavour to comprehensively visualize the body and its diseases. From the eighteenth-century onwards, going into the body has meant going via the image. Contemporary imaging technologies produce bodies as a series of xyz points that can be reconstructed, viewed and analysed from all dimensions on the screen, like fully navigable territories. These bodies can be simultaneously process and object; surface and depth; skin, bone, membrane and meatus.

Computer algorithms can detect the smallest variations in the body’s code, discerning possible abnormalities and aiding diagnosis. And such software is transforming the body and the space of medical thought itself. The ‘Becoming Image’ symposium will bring together visual artists, computer scientists, radiologists, cultural anthropologists and philosophers to consider the impact of new imaging technologies on the body. New imaging technologies are more than new tools for investigation of the body – they make possible new conceptual forms.


The organisers invite papers that may explore – or art submissions related to – the following themes: – the ways in which machines process and remodel the medical body as an informational field – the algorithmic body, and how it is measured, anticipated, understood, managed, and planned for in medical contexts – the effects of computerised vision on patient experiences and outcomes – the potential of imaging techniques, such as VR, in therapy and recovery – the biopolitics of machine learning in healthcare – the body as a spatial field, and the ethics of the computer gaze in medicine – the potential of medical images and medical image archives – the transformative impact of imaging technology on the future of healthcare, and on the body itself.


To submit a proposal to present a paper email an abstract (300 words, plus title) to Liz Orton ( and Timothy Carroll ( To submit a proposal to present an artist’s project email a summary (300 words plus 5 jpegs at 1200 pixels longest side at 72dpi or 2 video links).


Proposals must be submitted by 1 April 2018, and proposal acceptance will be decided by 15 April.


John Miers – Successful PhD Viva

The Doctoral Platform at CSM is delighted to announce that John Miers  has successfully defended his PhD.

John’s PhD is entitled: Structuring Comics: Visual Metaphor and Drawn Narratives

John’s supervisory team is composed of: Professor Roger Sabin (DoS),  and Dr Alison Green.


Foundation Fine Art Sculpture Park at Waterlow Park


Installation    26-28 JANUARY  |  WATERLOW PARK, N6 5HD
Central Saint Martins Foundation Fine Art students have teamed up with Camden Council to make creative responses to one of London’s most beautiful outdoor spaces—Waterlow Park in Highgate Hill. In total, there will be some 140 artworks located throughout the park – find out more.

On Saturday the students will be posting live to our Instagram account from Waterlow Park, so be sure to follow @csm_news and support their takeover.

The Doctoral Platform at CSM offers PhD candidates the space in which to meet, share research, as well as co-ordinate, curate and participate in a variety of events.

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