Blood & Bones: Living with Cancer

 

An exhibition of work by Tom Corby

PRIVATE VIEW: 6pm – 7.30pm Thursday 28th February 2019 

at The Street Gallery, University College Hospital, 

235 Euston Road, London NW1 2BU

The exhibition runs from 29th February – 24th April 2019, open 24 hours a day.

Blood & Bones: Living with Cancer is an exhibition of work by internationally exhibited and award-winning artist Tom Corby whose poignant images combine quantitative medical/clinical data describing the artist’s Multiple Myeloma* with the qualitative data generated by his personal experience of living with cancer.

Corby has developed a range of simple data driven approaches to track, share and make sense of his haematological cancer. These include data indexes capturing both clinical and personal experiences of the physical, emotional, and affective impact of living with cancer as a patient, artist, and human being.

Engaging with issues at the heart of UCLH’s mission, and the concerns of its patients, Blood & Bones: Living with Cancer presents different ways to represent the subjective experience of someone suffering from illness, providing various entry points for audiences/viewers to engage the exhibition theme. For example, some photographs are of the types of head-ware patients wear while undergoing chemotherapy. Others use the visual language of data visualization and medical graphing, but are here deployed by the patient and used to articulate personal rather than medical data. In this, the works in the exhibition are connected to the popular use of personal narratives such as blogging to discuss illness in ways that are often moving, funny, informative, and therapeutic.

In sharing his personal data, Corby has sought to demystify the experience of serious illness by drawing attention to the multiple experiences that are shared between patients, their families and clinicians, in order to contribute to understanding to what he calls ‘the ecologies of treatment [in which] patients, diseases and medics are entangled’.

Blood & Bones: Living with Cancer is curated by Dr Marquard Smith (UCL Institute of Education) and Dr Rishi Das-Gupta (formerly Director of Innovation, UCLH now at Royal Brompton). It is accompanied by a series of public engagement activities (curated by Agnese Reginaldo) and a catalogue (designed by Mark Little) published by The Archives Gallery. The project is in collaboration with UCLH Arts and Heritage UCLH NHS Foundation Trust’s arts programme. UCLH arts and heritage is committed to providing a welcoming, uplifting environment for all patients, visitors and staff through the use of a varied and stimulating arts and heritage programme. Its work aims to improve the patient experience, boost staff morale, increase engagement with the arts and celebrate the Trust’s unique heritage and community. The exhibition, associated events and catalogue are funded by Macmillan Cancer Support.

*Multiple myeloma, also known as myeloma, is a type of bone marrow cancer. Bone marrow is the spongy tissue at the centre of some bones that produces the body’s blood cells. It’s called multiple myeloma as the cancer often affects several areas of the body, such as the spine, skull, pelvis and ribs.

Blood and Bones

Public Engagement Programme Calendar

Thursday 7th March 5.30-6.15pm

Artist’s Tour
The Street Gallery, 235 Euston Road, London NW1 2BU

Thursday 14th March 2.00- 5.00pm

Symposium at UCL Institute of Education: The Human, Data, and Exhibitionary Cultures’
Art, Design & Museology Studios (8th Floor) 20 Bedford Way, Bloomsbury, London WC1H 0AL

Contributors include: Gilly Angell (member of the Patient Experience Group and the UCLH Arts Committee.); Dr Agnes Arnold-Foster (Medical and Cultural Historian, Roehampton University); Professor Tom Corby (artist, Associate Dean of Research, Central Saint Martins College of Art & Design, UAL); Fiona Johnstone (People Like You, University of Warwick); Dr Guy Noble (UCLH Arts Curator); Dr Marquard Smith (curator, UCL Institute of Education); and Sarah Josefsberg and Zoe Large (Macmillan Patient Experience and User Involvement, UCLH)

The event will include a special preview screening of Lana Lin’s The Cancer Journals Revisited.(98 minutes, 2018)1

Drinks reception and book launch

The event will be followed by a drinks reception to launch the catalogue accompanying the exhibition Blood & Bones: Living with Cancer.

 

Thursday 21st March – 5.30-6.15pm

Curator’s Tour
The Street Gallery, 235 Euston Road, London NW1 2BU

 

Thursday 11th April 5.30-6.15pm

Artist’s Tour
The Street Gallery, 235 Euston Road, London NW1 2BU

 

Thursday 18th April 5.30-6.15pm

Curator’s Tour
The Street Gallery, 235 Euston Road, London NW1 2BU

Youth Brunch and Closed Workshop at Cancer Centre Facilitated by Sarah Josefsberg and Zoe Large

 

Tuesday 23rd April 2.00-4.00pm

Zine Workshop open to all
Wellcome CollectionCo-facilitated by Sarah Josefsberg, Zoe Large and Agnese ReginaldoFollowed by Blood & Bones: Living with Cancer exhibition tour

1 The Cancer Journals Revisited is an experimental non-fiction film inspired by Black lesbian feminist poet Audre Lorde’s memoir/manifesto, The Cancer Journals. The project is prompted by the question of what it means to re-vision Lorde’s classic 1980 text today.

Exposed Art Projects – Empowerments

 

 

                                                                                              Alyona Larionova, Staying with the trouble, 2018.

 

We are proud to announce Touching Distance, an exhibition of works by Alyona Larionova, Sophia Al Maria and Terry Ryu Kim, which will take place at Exposed Arts Projects from 1 FEB to 8 MAR. Join us for the exhibition opening on 31 JAN @ 18:00 – 21:00.

 

Touching Distance is the first exhibition in the “Empowerments” series of public events, hosted by Exposed Arts Projects in 2019 (curated by Sasha Burkhanova-Khabadze). Over the course of four exhibitions and concurrent events, researchers and art practitioners will interrogate contemporary notions of power, and consider how they reside in, and emerge from, our social structures, institutions and systems of belief.

 

Touching Distance explores the relationship between control, dependence and vulnerability in the context of the current climate of mass migration and hyper connectivity. Artists Alyona Larionova, Sophia Al Maria and Terry Ryu Kim present work that investigates this theme from multiple access points, such as systems and networks of state control, historical forms of power exchange, and the nature of touch. The exhibition considers the interior lives of individuals in relation to circumstances of transience, freedom, connectivity and distance, via sculptural environments and narratives that interweave the fantastical and the documentary.

 

Alyona Larionova’s film Staying With the Trouble is a hybrid documentary film that follows a Kazakh berkutchi (eagle-hunter) on his journey to tame his wild eagle, Sadak. The film draws upon the unique bond between the hunter and his eagle to provide a meditation on power relations in a world dealing with security crises and accelerating hyperconnectivity. Oscillating between states of control and submission, berkutchi, Sadak, a judoist, and a border control officer, offer viewers their own bodily interpretations of the constantly shifting power scales.

Sophia Al Maria’s practice spans writing, film and performance. In her film Mothership Al Maria creates a haunting vignette that straddles the line between documentary and fantasy. A tiny drama of cosmic proportions performed in a sinkhole in the desert where a newborn earthling receives a shadow visitor: time – the terror of all creatures.

Terry Ryu Kim’s work Binaural Cabin Sounds demarcates a distorted aeroplane cabin space within one of the rooms in the gallery. Metal stands supporting windows follow the contours of the inner cabin walls, while others hang from the ceiling to confront viewers as they orientate the space. Traces of the human presence, shifts between transparency and opacity, and distortions in the forms of the windows themselves subvert the context of the work from a supposedly safe space of leisure and transit, to one that addresses the senses of anxiety, uncertainty and misinformation surrounding issues of mobility and migration. Referencing the implementation and relinquishment of control performed upon and by flows of people, Kim acknowledges how power structures are frequently built upon visibility; those who have access to data and those who don’t, those whose visibility is accepted, and those who are excluded.

 

Terry Ryu Kim, drawing for Binaural Cabin Sounds, 2018.

 

Alyona Larionova (b. 1988, lives and works in London) is an artist and filmmaker based in London. She received her BA Honours in Photography from London College of Communication and her MFA in Media from Slade School of Fine Art. Recent and upcoming shows include screenings at Sharjah Art Foundation; as well as participation at the 11th edition of Lo Schermo Dell’Arte Film Festival in Florence; 35th Kasseler Dokfest, the 20th Contemporary Art Festival Sesc_Videobrasil; and the 7th Moscow Biennial of Contemporary Art.

 

Sophia Al Maria (b. 1983, lives and works in London) studied comparative literature at the American university in Cairo, and aural and visual cultures at Goldsmiths, University of London. Al-Maria has shown at the Whitney Museum NY, USA (2016); New Museum, NY (2015); Gwangju Biennale, South Korea (2013); Waqif Art Centre, Doha Qatar (2007); and townhouse Gallery Cairo (2005). She participated in the 2016 Biennale of moving images (BIM), organized by the centre d’art contemporain in Geneva. In 2015 she guest edited issue 8 of The Happy hypocrite (Fresh Hell). Her memoir, The Girl Who Fell to Earth (2012), was published by Harper Perennial. Her writing has also appeared in Harper’s Magazine, Triple Canopy and Bidoun.

 

Terry Ryu Kim (b. 1985, Seoul, Republic of Korea) lives and works between London and Berlin. She received an MA in Fine Art Media at the Slade School of Fine Art, UCL, and a BFA in Painting at Seoul National University. She is the winner of the Catlin Art Prize 2013. Recent exhibitons include Creative Tech Week, VDPlas Gallery, New York; Slimeface Emoji! A collaboration with Adham Faramawy, tank.tv, London; Here, Here and Sometimes There, Display Gallery, London; Demimonde, Amberwood House, London; and Points of Contact, No Format Gallery, London.

 


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Exposed Arts Projects

6 Drayson Mews

London W8 4LY

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Congratulations to Andrea Muendelein

The Doctoral Platform is delighted to announce that  Andrea Muendelein has received her PhD. 

The title of Dr Muendelein’s PhD is ‘Re-thinking Stranger Through Photographic Practice’.

The Supervisory Team: Susan Trangmar (Director of Studies) Dr Daniel Rubinstein (Second Supervisor), Professor Anne Tallentire (Third Supervisor).

Referencing, Citation and Bibliographies

Get help and advice with any queries on referencing, citation and bibliographies from the CSM librarians, at the times /dates below. No need to book – just drop in!

Ask at the Information Desk, CSM Library 2nd floor.

 

Wed 9th Jan 2019: 13.00-15.00 https://academicsupportonline.arts.ac.uk/streams/university-wide/workshops/190109-referencing-clinic

Wed 16th Jan 2019: 13.00-15.00 https://academicsupportonline.arts.ac.uk/streams/university-wide/workshops/190116-referencing-clinic

Wed 30th Jan 2019: 13.00-15.00 https://academicsupportonline.arts.ac.uk/streams/university-wide/workshops/190130-referencing-clinic

DESIGN AND AUTHORITY

4T Design and Design History Association, Biannual Symposium, 2019

May 2-4 2019, İzmir, Turkey

The coupling of design and authority in a google search, the “internet search authority,” surprisingly results in entries which have more to do with the procedural and legislative aspects related to design: The “authority” issues rules for which the product of design or the designer has to comply with, or claims privilege in shaping the design product. Authority is usually attributed to an agent of enforcement regulating products and to an extent, that those produce design. Understood as a form of legitimized power, authority is realized only by the mutual recognition of those who hold power and those who do not.

A cliché argues that Italians cannot leave their moka pots behind when they go on a holiday, or the Turkish obsessively want their tea served in a specific type of glass, Japanese cars will never reach the quality level of the Germans, the Chinese are the new rulers of the world of electronic gadgets and so on. Another recounts the obsession of those who hold possession of a unique or rare object carrying the signature of a famous designer and how it’s valued. How do we account for the authority of designed objects in our daily lives, or in the way we value other cultures?

Digital culture, on the other hand, independent of any geographical, national boundaries, has been enthusiastically embracing all kinds of sharing platforms and collaborative tools. Digital design culture seems to have built its own peculiar collaborative environment. This collaboration does away with authorship by way of open-source software (which are generally not de-vised by designers), or by acts like taking and modifying scripts, utilizing algorithms shared online by various designers. Our way of teaching is, therefore, heavily influenced by the way we learn, question, think about and produce design. Call it the “digital elimination of authorship” or the “digital design knowledge of many hands,” old authorial notions of intellectual property and copyright often remain meaningless in such a collaborative environment.

Taking these subject headings as possible strands we welcome contributions from all design-related disciplines and fields that address questions such as, but not limited to: In what ways do design and authority come together? How does design exert authority? How can design resist authority? How does authority shape design in shaping itself, its powers? How do products of design have authority over lives, cultures, countries, histories or how do they lose the authority they once had? When does design become complicit with authority in creating authoritarian structures? How does authoritarianism enforce design regimes that hold sway over the field of cultural production? In what ways can one explain the relationship of authorship, design and authority? Is it possible to talk about the authority of collective authorship in design?

CALL FOR PAPERS

Those who are interested in contributing papers to the thirteenth 4T Symposium are invited to submit a title and an extended abstract of 1000 words through EasyChair (https://easychair.org/ conferences/?conf=4t2019) by January 25th 2019.

Registration to Easy-Chair is essential in order to submit abstracts. The symposium language is English, therefore all abstracts, presentations and papers should be in English. For any further questions please contact Işılay Tiarnagh Sheridan (4Tsymposium@gmail.com). Selected proposals will be announced on February 25th, 2019.

Organizing Committee

Derya Irkdaş Doğu

Bahar Emgin

Erdem Erten

Batuhan Taneri

Emre Yıldız

Art and Activism Debate

 

Debate   THURSDAY 29 NOVEMBER, 5.30–7.30PM |  ROOM C202
This event marks the finale of a two-week residency at CSM, conducted by Priscila Mastro, Fábricas de Cultura and Sheyla Maria Alves de Melo, Arte Maloqueira. These Brazilian artist activists are involved in setting up communications networks in São Paulo favelas with the aim of linking vulnerable groups and communicating across, within and between different communities. The discussion will be moderated by Alex Schady, Art Programme Director, accompanied by Paul O’Kane, Fine Art Critical Studies lecturer. It will be conducted in Portuguese and English with translation. This event is part of the Resistances in Residence programme funded by British Council Brazil.

Competition – win 300 pounds

Competition: Design our 2018 festive campaign for the chance to win £300

Extended Deadline: Friday 30 November

CSM is commissioning a student to design our 2018 festive digital visual! This can be a static or animated image, and will be used on the landing page of our website, on screens around the College and in our end-of-year email campaign.

Prize: the student who wins the commission will receive £300 as well as a few celebratory mentions across the College’s social media channels (and of course, your work will be seen throughout the building and by all those on our mailing lists). Find out more.

Featured above: last year’s winning design by Ben Chan and Malone Chen

Future Factory

 

Symposium and Workshop   30 NOVEMBER AND 1 DECEMBER | DESIGN MUSEUM
Join leading designers and material researchers to rethink sustainable production for the 21st century. Find out more

Symposium | Friday 30 November
In partnership with Central Saint Martins’ Material Futures and the Design and Living Systems Lab, this symposium brings together leading designers to explore how production might be re-designed for the future.

Workshop | Saturday 1 December
Join designers and students from the MA Material Futures course as they create a series of future factories, exploring new systems of manufacture that address some of the profound challenges we face in this age of environmental challenges. Through discussions and hands-on activities, you will learn about a range of different production models and ‘future factories’, from bio-hacking to automation. 

Two Rooms

 

Performance    29–30 NOVEMBER | STUDIO THEATRE
Two Rooms is a devised performance piece consisting of nine separate fragments. For each fragment, the text is a piece of music, the performers are non-actors, members of staff from Central Saint Martins and the directors/devisors/designers are second-years students from the BA Performance: Design and Practice course at Central Saint Martins.

Tickets are free but booking is essential, visit the event page to find out more.

The Age of New Babylon

 

Exhibition   23 NOVEMBER – 12 DECEMBER | LETHABY GALLERY
The Age of New Babylon is the Lethaby Gallery’s first student-led exhibition. Through a series of actions and interventions, this evolving exhibition examines notions of ‘otherness’ through the lens of difference and seeks to go beyond the frame of an image. Curated by Central Saint Martins alum Samboleap Tol and final-year student Sara Gulamali, it features the work of 22 artists, including students and graduates from colleges across London.

The Age of New Babylon will be accompanied by a programme of public events – find out more.

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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