The Light PG Reading Group proposes a discussion on the interdisciplinary role of light in contemporary practices. Postgraduate students from diverse disciplines, including arts, media, design, special practices and theory, are invited to join the dialogue with the aim of discussing how both materiality and technologies of light, advance innovative forms of expression and of experience. The Light PG Reading Group welcomes contributions across disciplines, with interest in discussing the artistic, historical, scientific and technological aspects of light in society. The Light PG Reading Group intends to raise awareness of light-based practices in preparation for the International Day of Light, 16th May 2018.
Thur. 9th November at 4 pm – Pod A – Learning Zone, CSM
The emergence of light-based practices
Piene, N., 1967, Light-Art, In Art in America
Led by Sara Buoso, PhD student – CSM
Date: Thur. 30th November at 4 pm
Venue: Pod A – Learning Zone, Library, Central Saint Martins
Techniques of the Observer – Jonathan Crary
Melanie King will lead a reading group, using “Techniques of the Observer” by Jonathan Crary as a starting point, exploring first of all how Goethe made a personal distinction between objective truth and subjective perception after seeing strange colours and forms inside a camera obscura.
Throughout the reading group session there will be a chance to discuss: the camera and objectivity in art and science, the retinal after image, optics and objectivity, perception of colour, the camera obscura, illusions – kalleidoscopes, dioramas, stereoscopes, phantasmagoria.
Fri. 19th January at 5 – 6.30 pm, CSM
Join UAL’s Postgraduate Community for a walk-around UK’s largest light festival, LUMIERE led by PG Community Ambassador Zinta Jauntis, followed by an exclusive conversation with award winning light artist, Satyajit Das.
The best way to chase away the January blues is to let the light in! Lumiere is the UK’s largest light festival, inviting artists to create work that light buildings and public spaces, changing the way we think and feel.
More than 40 artists will reimagine London’s iconic architecture, transforming the city into a dazzling nocturnal art exhibition. Including 3D light installation Aether, by artist Satyajit Das, Director and co-founder of Architecture Social Club. Aether is a collaboration with musician Max Cooper. It plays on the beauty of natural forms – waves, surfaces, symmetries and surreal landscapes, as the building blocks and underlying structure of the world around us.
For more information and to book a place: http://events.arts.ac.uk/event/2018/1/19/Let-there-be-Light-/
Thur. 8th February at 4 pm – Pod A – Learning Zone, CSM
Tom Gunning ‘Loïe Fuller and the Art of Motion. Body, Light, Electricity and the Origins of Cinema.’
From Camera Obscura, Camera Lucida. Essays in Honor of Annette Michelson (Amsterdam, Amsterdam University Press, 2003)
This session will focus on Tom Gunning’s essay ‘Loïe Fuller and the Art of Motion’. I will discuss how at the turn of the twentieth century, Löie Fuller pioneeringly used light in her dance performances, and how her work and its implications relate to my film practice. Fuller’s performance explored a new kind of movement and representation of the female body that was seen through light. The body is seen as a series of transformations in which the stage lights and projections (as well as the fabric of her dress) illuminate and create that transformation.
Tamara Tyrer is a practicing artist specialising in film and performance. Her artistic practice has included directed shows at the V&A, ICA, Blackpool Tower Ballroom and The Porchester Baths, juxtaposing live art and dance with vaudeville and burlesque traditions. Her video and film installations have been exhibited at the Rochelle School, the Courtauld and the National Gallery. She is currently studying a practice -based research PHD at Central St Martins, London, entitled Of Space and Time. Film and the Female Performer, exploring the notion of a female dance, space, time and subjectivity by creating a form of haptic cinema.
To view her latest research film, please go to:
Garelick, R. K. Electric Salome, Loie Fuller’s Performance of Modernism, (Oxfordshire: Princeton University Press, 2007)
Thur. 22 February at 4 pm – Pod A – Learning Zone, CSM
Gabriel Orozco: thinking in circles by Briony Fer pages 46 – 58. Chapter title ‘instrument: device’ (published by the Fruitmarket Gallery, Edinburgh, 2013)
In her book titled Gabriel Orozco: thinking in circles which accompanied an exhibition that Briony Fer curated at the Fruitmarket Gallery, Edinburgh (1 August – 18 October2013), the art historian draws attention to a relation between the constellations of circles in Orozco’s art practice and ‘movements of the cosmos’ measured by an Observatory. This session will consider how Fer wrote about Orozco’s meditative approach to art-making and its relation to cosmology alongside a study of his work’s materiality. Orozco uses a wide array of materials, including found items, on which to inscribe or incorporate circular motifs, with no hierarchy of materials. Schematic paintings of spheres sit alongside his many other different flat or three-dimensional surfaces. His intention is that the works are an ‘exercise’ for the mind while thinking about how to make other types of work.
Sharon Phelps completed a practice-led PhD at Chelsea College of Arts in 2017, titled ‘Agnes Martin: painting as making and its relation to contemporary practice’ (DoS Jeff Dennis, Co-Supervisor Dr Paul Ryan). Her research examines the limits of painting now and investigates how painting can extend into sculptural objects. The written thesis investigated some contemporary practices that, like Agnes Martin, adopt a meditative approach, including that of Gabriel Orozco.
Thur. 22nd March at 4 pm – Pod A – Learning Zone, CSM
‘Impossibility to see the sky’
”And God said, Let there be light: and there was light” Genesis 1:3
Through an acute observing, we all can notice the sky is not clear to the sight, neverthless mankind still work on capturing portions of visible in order to represent and map the universe. Although science has been progressing and observations are more detailed to the rational eye, the magical poiesis is sacrified in this process. Looking back at the history, there notable that imagination, by creating a collective symbolic code, had a key-role within the study of the astronomy: since the very beginning, humans started to observe the sky by developing images and myths of narrative which could explain constellations and physical phenomena.
The role of imagination also has been at the basis of philosophical investigations by Giordano Bruno and hermeticism. In particular, Bruno sets the imagination as a mental faculty able to create knowledge, in perfect accordance to what previously stated by Aristotle in his “De anima”: to wit, imagination as “phantasia” which in its etymo literally indicates to reveal something present to sight through light (greek radix phanos = light). In other words, for centuries, imagination as tool, has been posing the elements for an universal code of reading able to produce cosmological narrations more or less realistic but anyway efficient if compared to what discovered by scientists few centuries later.
In modern time, the central role of the imagination left the place to calculation: we can exactly have information about solar system and galaxies which are positionated far away, light has been revealed as a wavelength, Neptune does not scare anymore inhabitans of the sea and so on. The “big narration” of our universe is crumbling under a telescope. In these terms, the photographic experience we have of the sky, expecially if it wants to take into account art purposes, might be read an outcome of a techno-poietic process.
By considering the circumstances of the era we live in, the session aims to open up a discussion and confrontation regarding the position and definition of technology, especially in relation to those photographic practices which relate to the observation of the sky, whether the techno-poiesis is an act which generates lacks for humanity (ie. Posthumanism) or empowerment (ie. Transhumanism).
Bibliography and authors of reference:
Lyotard, Jean – Francois, 1984, The Postmodern Condition, Minnesota University Press
Heidegger, Martin, The question concerning technology and other essays, New York: Garland
Aristotle & Hamlyn, D. W., 1968, Aristotle De anima, Oxford: Clarendon press
Yates, F., 2015, Giordano bruno and the hermetic tradition, Routledge
Colebrook, C., 2014. Death of the PostHuman: Essays on Extinction, Volume One
Maria Luigia Gioffrè (b. 1990) graduated in MA Contemporary Photography: Philosophies and Practices at Central Saint Martins, UAL. Previously graduated at ISFCI Istituto Superiore della Fotografia in Rome and in BA Communication and Political Sciences at Luiss Guido Carli in Rome with a dissertation on semiotics processes of images and communication. She is the co-founder of “Talìa”, association supported by Terre di Scolacium for education on contemporary art in southern Italy. She is a multidisciplinary artist in the field of visual and performance art and her artistic research focuses narration as semiotic instrument able to give access to new or forgotten knowledge of imagination. She is the first prize winner of Celeste Prize 2017. Her works have been selected for Tate Exchange, Zurich meets London Festival, Venice International Performance Art Week. Her photographic work “Impossibility too see the sky” has been developed during Lumen Residency 2016 and then partially exhibited during Art Night & Whitechapel Gallery Associate Program Lumen Studios, London 2017. She has been speaker for “Progetto Gutemberg” 2015 at Marca Museo delle Arti del XXI, Italy.
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