Call for Papers – MIRAJ

                Issue 6.1/6.2


                50 Years of British Artists’ Moving Image

                Call for Papers | Deadline: 15 August 2016


On the occasion of the fiftieth anniversary of the London Filmmakers’ Cooperative (LFMC) and the fortieth anniversary of London Video Arts (now LUX), articles are invited that reflect upon the histories, contexts and legacies of artists’ film and video practices in Britain since 1966. Both organisations played a significant role in the development of the distinctive and diverse artists’ moving image culture experienced in the UK today. This double issue of MIRAJ marks these anniversaries in order to draw forth new scholarship and research in a vital field of study and practice. This issue will be guest edited by Benjamin Cook and Lucy Reynolds.


We invite articles that examine:

•         Ecologies of practice, distribution and production (including workshops, funding, the academy, distributors, collectives, co-operatives, galleries, festivals, the art market, television and the internet).

•         Spectatorship (spaces and patterns of reception from museums to micro-cinemas, from festival to home viewing and online).

•         International links, networks and perspectives (in particular encouraging dialogues concerning a non-Western axis).

•         Scholarship then and now (magazines, film journals, educational contexts).

We encourage articles that debate:

•         What was and what continues to be at stake in contemporary British artists’ moving image culture.

•         Interplay and tensions between moving image culture and contexts such as artists’ film production and film industry, experimental film and the art world.

•         The dialogues between earlier movements and contemporary practices.

•         Technological shifts and the significance of medium specificity in the digital age.

We welcome articles that explore:

•         Original theoretical and interdisciplinary methodologies for the historiography, analysis and discourses of post-war artists’ moving image practices in Britain.

•         Posit new research and perspectives on figures and contexts overlooked or under-represented.

•      Dissect and examine existing canonical representations of key figures and contexts.



Please submit completed manuscripts only. Send all contributions and proposals by e-mail in Word format to the Editorial Assistant:

We publish the following types of writing: scholarly articles (5000–8000 words); opinion pieces, feature articles and interviews (4000 words); review essays of books, individual works, exhibitions and events (4000 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. All writings should propose a central idea or thesis argued through a discussion of the work under review.


Articles submitted to MIRAJ should be original and not under consideration     by any other publication, including online publications. We do not publish         articles by artists about their own work, nor reviews by curators or venues     about their own exhibitions.


All submissions should be in English and adhere to the Intellect Style Guide




Founding Editor: Catherine Elwes (CCW Graduate School, University of the Arts London)

Guest Editors: Lucy Reynolds (Central Saint Martins, University of the Arts London) and Benjamin Cook (LUX, London)

Associate Editors: Sean Cubitt (Goldsmiths, University of London), Eu Jin Chua (Unitec,New Zealand), Janine Marchessault (York University, Canada), Jonathan Walley (Denison University, USA), Maria Walsh (CCW Graduate School, University of the Arts London), Rachel O. Moore (Goldsmiths, University of London)

Reviews Editor: Colin Perry (Central Saint Martins, University of the Arts London) 
The International Advisory Board includes:

Mark Bartlett; Pryle Behrman; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Catherine Fowler; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Lucy Reynolds; Pratap Rughani; Catherine Russell; Tom Sherman; Lisa Steele.



The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.




Lubaina Himid in conversation with Paul Goodwin

Dear friends and colleagues,


I’m writing to invite you to our upcoming Exhibition Histories talk, in which Lubaina Himid will discuss the 1985 exhibition ‘The Thin Black Line’ and related projects with Paul Goodwin.


The talk will take place this Thursday 3 March, 19:00-20:30 at the Whitechapel Gallery in London. We have a few complimentary tickets available so do just drop me an email if you can make it and would like to come along. Happy to add your name to the list.


With best wishes,

Louis Hartnoll

Louis Hartnoll <>

Editorial Assistant


Central Saint Martins

University of the Arts London

Granary Building

1 Granary Square





Art and Science


 MA Art and Science Workshops

 Saturday 5 March, 9.30am – 5pm | around Central Saint Martins


MA Art and Science are offering a range of creative workshops for adults and young people  – come along and get hands on with slime mould problem solving, microbial image making, nebula bottling, water mapping, microscopy inspired glass sculpting and chemigram making.

Events this week include:

Gender Without Borders – Sonya Sharma


Gender Without Borders

 All welcome

 4 March, 6.30 – 8pm | LVMH E003 


Several short presentations from a variety of disciplinary perspectives and research interests of faculty teaching on the MA Gender without Borders at Kingston University. Dr. Sonya Sharma will talk on “Religion and Intimacy Between Sisters,” Dr. Emma Casey on “Consumerism and Gendered Identity Practices,” Dr. Martin Dines on “Class/age/sex: post-war queer fiction” and Dr. Jane Jordan on “Narratives of Victorian Prostitution”. Visit the event page to book your free ticket.

Gender without Borders: Mary Lynne Ellis


All welcome

 2 March, 6.30 – 8pm | LVMH E003 

Mary Lynne Ellis is author of the book Questioning Identities; Philosophy and Psychoanalytic Practice. She is a relational psychoanalytic psychotherapist and artist. Her lecture is entitled “Mourning’s Dissonance”, part of a series of interdisciplinary lectures organised by the faculty teaching on the MA Gender without Borders at Kingston University. Visit the event page to book your free ticket.

Jeanne van Heeswijk


Spatial Practices Lecture Series

 Thursday 3 March, 6 – 8pm | LVMH Lecture Theatre E003


Jeanne van Heeswijk is a visual artist who creates contexts for interaction in public spaces. Her projects distinguish themselves through a strong social involvement. With her work Van Heeswijk stimulates and develops cultural production and creates new public (meeting-)spaces or remodels existing ones.

Considering London’s crisis of living by structuring a range of projects and external partnerships that experiment with the provision of an affordable and equitable place to live, the series is not to be missed!

Visit the event page to book your free ticket and to see the full list of lectures talking place.


Intimacy Unguarded: Gender, The Unconscious and Contemporary Art

Freud Museum Symposium

Program, Titles, Abstracts and Biogs



9.30-10.00 – Registration

 10.00 – 11.30

Emma Talbot and Joanne Morra – Introduction

Joanne Morra

Emma Talbot

Q & A

 11.30 – 12.00 Tea Break

 12.00 – 1.30

Diana Caine and Denis Echard

Barbara Visser

Q & A

 1.30 – 2.45 – Lunch

 2.45 – 4.15

Sadie Murdoch

Griselda Pollock

Q & A




Joanne Morra

Autobiographical Fiction: Encountering Anna Freud and Melanie Klein Inside the Freud Museum

In 1989 the Freud Museum London hosted its first contemporary art exhibition. There have been over 75 shows since then. Having art inside the Freud Museum is a form of ‘site-responsivity’, wherein the artwork and site respond to and activate one another in unexpected ways. One of the most interesting forms of site-responsive art in the context of the Freud Museum is work that gestures towards the autobiographical. Eliciting a form of ‘autobiographical fiction’, such intimate (fictional) moments exposed by the artist through the artwork become re-framed. The artist and artwork enter a psychoanalytic setting. In doing so, the artistic interventions provide us with some fundamental moments within psychoanalytic practice. This talk considers two exhibitions that, intriguingly, turn away from Sigmund Freud and move towards two female analysts. Alice Anderson’s work and exhibition relies on the process of repetition as a means of ‘fictionalizing’ and letting go of childhood anxieties. While, the curation of the Louise Bourgeois show, and the work included in it produces a form of Kleinian acting out.

Joanne Morra is Reader in Art History and Theory at Central Saint Martins. She has published widely on modern and contemporary art. One of her main interests has been in understanding the potential alliances between singular spaces of practice and what occurs within them – the studio, the study, the gallery/museum, and the consulting room. Her forthcoming book is Inside the Freud Museums: History, Memory and Site-Responsive Art (I.B. Tauris, 2016). She is the co-organiser with Emma Talbot of the research project Intimacy Unguarded.


Emma Talbot

Unravel These Knots

‘Unravel These Knots’, a one-person exhibition by Emma Talbot at The Freud Museum London, runs concurrently with this Intimacy Unguarded event. Using the same title, this paper will discuss the work in the exhibition, in terms of the process of thinking, making and installation. Talbot will explore the underlying themes of autobiography, psychological representation and non-linear narratives that form the basis her work. She will open out the context for the work in relation to two of Freud’s studies The Interpretation of Dreams and Screen Memories as well as other key references and will discuss the ways these texts informed her practice.

Emma Talbot is an artist based in London. Her work is featured in two recent Thames and Hudson publications 100 Painters Of Tomorrow and Drawing People. Recent one-person exhibitions include Step Inside Love at Domobaal London, and Memories Turn To Dusk at Petra Rinck Galerie, Dusseldorf. Her work is included in the forthcoming Comic Tragics at The Art Gallery Of Western Australia. She is represented by DomoBaal, London and Petra Rinck Galerie, Dusseldorf. Emma is a Senior Lecturer at CSM and co-organiser (with Dr Joanne Morra) of the research project Intimacy Unguarded.



Staging the Unconscious: La Présentation de malades

Diana Caine and Denis Echard

The patient presentation (‘présentation de malades’) is a roughly hour-long interview of a psychiatric hospital’s inpatient by a Lacanian psychoanalyst before an audience of experienced analysts and psychoanalytic trainees. Although patient presentations take place in Psychiatry and other medical disciplines in the UK, it is not part of training in psychoanalysis here, whereas in France it is considered essential.

Regardless of their formal psychiatric diagnosis the patients are in the hospital because their lives have become untenable, precarious, at risk, and they have an account to make of what has happened to them and how they see their circumstances. They formally and voluntarily agree to come and participate in the interview.

The narrative as it unfolds, as unpredictable as it always is, allows something else to be heard, something strikingly other and psychically telling, as to how that person comes to be in this precarious and terrible situation.

Thus this raises the question of how one is listening, and what is it one is listening for, in the multiple layers of discourse of someone whose story is completely unknown but which unfolds through words – sometimes too readily, sometimes hardly at all. As such, from a training perspective, sustained each session by theoretical development, it is a serious preparation to the psychoanalytic encounter with patients.

This is not art, this is not a performance, yet it is a staging that lets something unconscious emerge. With the support of some material from such interviews we want to bring something of this experience into the frame of the Freud Museum and to invite the audience to perhaps become a new chorus to the telling: what does the patient’s speech become for an audience in a different place?

Diana Caine is a consultant neuropsychologist and psychoanalytic psychotherapist at the National Hospital for Neurology & Neurosurgery

Denis Echard is a psychoanalytic psychotherapist in private practice



Barbara Visser

Adventures beyond the intellect

Barbara Vissers’ Manual Series is an artistic research project, which addresses different forms of psychological (self-) help since the beginning of the 20th century in a playful, critical and confrontational manner.

In this paper, Visser will elaborate on three different endeavours in this realm and show excerpts from these chapters: starting with a radical translation of a best-selling American self-help book; moving on to autobiographical fiction though the file of Client 8034; and then will share footage recently recorded at the Psychological Event Lab at the University of Barcelona developing radical experiments with body and mind perception by using VR (virtual reality) techniques to influence our inner voice.

Manual/1: Stop thinking, start living
Manual/2: Client 8034
Manual/3: Being Sigmund Freud

Barbara Visser studied photography and audiovisual arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht. From 1992onwards her work is shown internationally.

Barbara Vissers’ work focuses on cultural and historical narratives and the form in which they become manifest through art, design, media and behaviour. Using photography, film, text and performance, her practice addresses the uncertain relationship between registration and dramatization, and plays with notions of authentic and constructed realities. By challenging existing modes of storytelling and image-making and questioning our memory and belief systems, Visser aims to provoke a new perception of what normality has rendered invisible.

She often collaborates with other creative practices, and is currently the chair of the Royal Netherlands Society for the Arts.

Visser has participated in the Bienal de Sao Paulo, Brazil (2006), Manifesta, Trento, Italy (2008), Architecture Biennale, Dutch Pavillion, Venice, Italy (2010), Art Biennale, Dutch Pavillion group show (2011). In 2011 and 12 she’s written and directed the film C.K. (2012). Awards for her work include the Dutch Cultural Media Fund Documentary Award (2010), the dr. A. H. Heineken Award for art and science (2008) , David Roell Prize 2007 from the Prins Bernhard Foundation (2007). Since 2014 she is appointed as a member of the Royal Dutch Academy of Arts. She is represented by Annet Gelink Gallery in Amsterdam, The Netherlands.


Sadie Murdoch

Your Eyes are My Hands

In ‘Your Eyes are My Hands’, Sadie Murdoch will discuss her solo exhibition SSS-MM, at the Museum Haus Konstruktiv in Zürich, curated by Sabine Schaschl, and her forthcoming
publication, Omnipulsepunslide, a project with Artphilein Editions.

‘Your Eyes are My Hands’, a sentence from Omnipulsepunslide, refers to the artist’s approach to image-making. Through re- imagining and re-staging she re-routs and resists a gaze which positions the female subject as image and object. The rebellious female body, self-representation and self-fashioning are explored through archival material which is submitted to processes of elision and re-assembly, to generate new symbolic economies. Murdoch’s re-interpretation of images, objects and texts by women involved in the New York and Zürich Dada movement constitutes an intimate practice of ‘inhabiting’ the archive.

 Sadie Murdoch is an artist living and working in London. She considers the way in which photographic archives can be interpreted through re-staging and re-making, and proposes that the codes and conventions of ‘Modernism’ and ‘modernity’ emerge from the repression of subversive counter-narratives, of gender, power and desire.

Sadie received her MA in Painting from Chelsea College of Art and Design in 1990 and her PhD from Leeds Metropolitan University in 1999 and was a participant in the Whitney Museum of American Art Independent Study Program in New York from 2003-2004.  She is currently represented by the Roberto Polo Gallery in Brussels, and has had solo exhibitions at The Henry Moore Institute, Leeds, The Agency Gallery, London and the Apartment Gallery in Athens, Greece. She was included in Ballet Mécanique, Timothy Taylor Gallery, London, Spectral Metropole, Vžigalica Gallery, City Museum of Ljubljana, Ljubljana, Slovenia (2012) and Modern Shorts, New Museum, New York. Sadie is presently a Lecturer on the MFA Fine Art course, Goldsmiths College, University of London.


Griselda Pollock

The Missing Wit(h)ness: Monroe, Fascinance and the Unguarded Intimacy of Being Dead

Since Anthony Summers first published the post-post-mortem photograph of Marilyn Monroe in his Goddess: The Secret Lives of Marilyn Monroe, (1985) as part of the tendency to challenge her death as suicide, several painters have taken up this derelict photograph, including Margaret Harrison and latterly Marlene Dumas. We know from Barthes the intimacy between the photograph of the lost love object and death; yet in his own case he refused to reproduce the counter-image of his dead mother, an image of her as a child before his life had begun.  Warhol, of course, used a ’still’ from 1953 to make his memorial icon in his grief for a fellow white working class victim of modern America. In this paper Griselda Pollock will explore the violence of the unguarded intimacy of the publication and feminist re-working of this stolen image of a woman in death in relation to the forensic notion of the silent witness and a feminist aesthetic-ethic  of wit(t)messing.

Art historian and cultural analyst, Griselda Pollock is a Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory & History (CentreCATH) at the University of Leeds, England.  Her many books and articles address feminist challenges to modernist art history, her current interests focus on the image and time, on trauma and aesthetic transformation, and feminist interventions in psychoanalytical aesthetics as well as cultural memory and the Holocaust. Her recent publications include After-images/After-Effects: Trauma and Aesthetic Transformation in the Virtual Feminist Museum (Manchester University Press 2013) and Art in the Time-Space of Memory and Migration: Sigmund Freud, Anna Freud and Bracha Ettinger in the Freud  Museum (WILD PANSY PRESS with the Freud Museum, 2013)  She is editor of Visual Politics and Psychoanalysis: Art & the Image in Post-Traumatic Cultures (I B Tauris 2013) and with Max Silverman, co-editor of Concentrationary Memories: Totalitarian Terror and Popular Culture (2013) and Concentrationary Imaginaries: Tracing Totalitarian Violence in Popular Culture  (2015). She has just completed a twenty-year project:  The Nameless Artist: Charlotte Salomon’s Life? or Theatre?  for Yale University Press and is writing  Is Feminism a Bad Memory?  for Verso, and editing with Anna Johnson  Bracha Ettinger: The Matrixial Reader for Palgrave MacMillan. Her book on Marilyn Monroe’s Mov(i)es will appear in 2017.

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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