15792 research outputs found
Sort by
Reading: A Dead Man's Stuff, Especially, Is No Good
No full textI read an extract from my forthcoming novel, The Cremation Project, as part of the launch for nicky melville's new novel, Imperative Commands.
Other readers were Emilia Weber and Rob Kiely
Architecture is Climate
Get PDFClimate breakdown disrupts life as we know it, not least the way we make and share space. For too long architecture has stood outside climate, seeing it as a problem to be f ixed through technocratic intervention. Architecture as part of the modern constitution carries a dualistic view of the world: humans and non-humans, nature and technology, culture and science. Our lives and societies are structured around this attitude. But what if this polarity has never existed? What if architecture, entangled with climate, can become a radical practice that prioritises climate justice? To say that architecture is climate means that other possible architectures are also other possible climates.
Architecture is Climate explores these questions and propositions through a programme of residencies in the Lethaby Gallery by architecture research collective MOULD in collaboration with Soft Agency, Climate and Cities, Anthropocene Architecture School, and Civic Square. Architecture is Climate invites you to be part of an evolving programme of interventions and workshops that reimagine spatial practices by exploring potentials for positive change within cracks in the present.
As you enter the Lethaby Gallery, note how only a portion of the space is accessible. This partition reflects the fact that the world currently consumes resources accounting for 1.75 planets a year, when we only have 1. The inaccessible part of the gallery represents that overshoot, the part we should not use. The exhibition has been designed as a work in progress, using salvaged materials from previous exhibitions, to reflect the importance of working in processual and collaborative ways with pieces of the present
Digital arts – refugee engagement
Get PDFDigital Arts – Refugee Engagement (DA-RE) is an exploratory research partnership between refugee youth, academics, practitioners and community activists. Arts-based activities were combined with digital literacy to develop the capabilities of refugee youth in Turkey and Bangladesh. DA-RE’s participants co-created digital arts and connected with one another across the two settings in a digital third space to share narratives from their situated perspectives and lived experiences. In these ways, they developed skills of engagement and agency through the project, but at the heart of DA-RE was the intention to explore the links between refugee youths’ own creative agency, harnessed in new contexts enabled by the project, and their existing digital literacies. DA-RE sought to identify, with a theory of change, potential opportunities for refugee youth to both use this capability in the host community and provide a platform for their digital arts to offer a counter-narrative to ‘othering’ discourses at work in both their host communities and in the UK, where the project was coordinated, in so doing converting (digital) literacy into capability with positive consequences for social good
Transfer: Korean and British Abstract Painting and the Digital Document
No full textThe Korean Cultural Centre UK presents TRANSFER, a workshop-style exhibition that explores the digital documentation of painting. It consists of paintings juxtaposed with forms of digital documentation, and focuses on works from both the UK and South Korea which have been made over the past thirty years.
A ‘document’ is an accurate and official record, a memorialised representation capable of being used for reference, study, or as an accepted authority. Of particular interest in this exhibition is the exploration of what is lost in the transfer of information involved in the making of a digital document. To this end, TRANSFER includes works that flirt creatively with forms of ‘infidelity’ to the originals they document, and which thereby challenging the norms of such documentation.
TRANSFER is a research project involving artists, art historians, filmmakers, and digital scientists from academic institutions in the UK and Korea. By contrasting paintings by artists from a European and an East Asian nation the goal is to foreground commonalties and differences, and to ask questions about cultural influence in relation to the norms of the digital documentation of painting in general.
Simon Eaves | Sooyeon Hong | Alan Johnston | Inyoung Kim | Kim Taek Sang | Michael Kidner | Lee Ufan | Simon Morley | Anna Mossman | Rafaël | Daniel Sturgis with Jung-Ah Wo
Dreaming the Unthinkable: The Cinema of Yorgos Lanthimos
Get PDFTwo considerations frame this chapter’s conceptualisation of Yorgos Lanthimos’ so-called ‘weird’ cinema: Walter Benjamin’s assertion that a totalitarian ‘state of emergency’ is now a perennial condition of political-juridical life in the west, and Todd McGowan’s observation that cinema is ‘a form of public dreaming’ shaped by the social imaginary. Comprised of six feature films - Kinetta (1995), Dogtooth (2009), Alps (2011), The Lobster (2015), The Killing of a Sacred Deer (2017), and The Favourite (2018) – Lanthimos’ cinema stages a series of dramas of familial and group conflicts that revolve around violent, often abusive power relations. Psychoanalytically, these films can be understood in terms of the Subject’s submissive attachment to the authority of the super-ego. At the same time, they can be seen as re-enactments of the excesses associated with the violent exercise of totalitarian power, the traumatic effects of which have their roots in Greece’s experience of a series of dictatorships dating back to the period of the Holocaust. Analogous to a sequence of dreams, the films can be seen to oscillate between, on the one hand, the representation of an enduring sense of psychic and ideological repression and, on the other hand, a wish to overcome such repression. The staging of this wish in the films reveals with a dramatic sense of force the co-dependency between the construction of the Subject I and the reproduction of ideology. If, as Lanthimos’ cinema implies, the Subject’s identity is virtual, then it follows that Benjamin’s conception of the ‘state of emergency’ is an historically contingent phenomenon rather than an ontological condition
Concepts Have Teeth, And Teeth That Bite Through Time: digital imaging and Blackfoot material culture in UK museums
No full text“I was told we live with time in such a way that the past, present and future are always in the here and now.”
John Murray, Amskapipiikani [Zedeno et Al, 2021]
Concepts Have Teeth and its sister project on Blackfoot territory Mootookakio’ssin [Distant Awareness] aim to connect Blackfoot people living in North America with their cultural heritage held by museums in the UK. Directed by Knowledge Holders from the four Blackfoot nations Kainai, Piikani, Siksika, and Amskapipiikani, the project is a collaboration between Indigenous and non-Indigenous researchers, artists, archaeologists, museum professionals and students. The project uses digital imaging techniques, art-based public engagement and spatial web technologies with the aim to improve the ability of Blackfoot people to interact with their historical belongings and recover and shape their own narratives surrounding them. Our project is founded on the core Blackfoot perspective that knowledge is something we have a responsibility to care for and to shar
The Reproachful Head of the Green Knight: Exploring the eerie, liminality, deep time and duration in ‘Sir Gawain and the Green Knight’
Get PDFThe outcomes presented in this article represent a body of fine artworks that respond to the medieval poem ‘Sir Gawain and the Green Knight’ (c.1380), culminating in the realization of the monstrous head of the Green Knight. I outline influences from an extended base of film, and television, including direct adaptations of the poem, and thematically relevant sources that include analogous narratives; as well as looking at fine art sculpture and painting that have informed my making strategies. I also discuss my theoretical framing of the poem which asserts the Green Knight as an eerie agent of temporality. The relationship between liminal space and monstrous intrusion on the subject is explored, looking to French philosopher Henri Bergson and English writer and cultural theorist Mark Fisher to articulate the subjective implications of deep time manifested in monstrosity. The article charts the ways in which academic research has combined with studio practices to develop and enrich ideas, allowing for a dramatic error in production to become an attribute of a finished work
Civilization: the way we live now
No full textThis landmark exhibition tracks the visual threads of humanity’s ever-changing, extraordinarily complex life across the globe, through the eyes of 150 of the world’s most accomplished photographers. Featuring many previously unseen images, Civilization acknowledges the diverse material and spiritual cultures that make up global societies today, spanning Europe, Asia, Australia, Africa and the Americas. Exploring a wide range of subjects, from our great united achievements to our collective failings, Civilization: The Way We Live Now highlights the complexity and contradictions of contemporary civilization.
Edmund Clark has two works in the exhibition:
Camp 6, mobile force feeding chair
Home, Kuwai
Witnessing Future Violence: On images from Gaza: A Conversation with Dr Jennifer Good
No full textA long-form interview on critical, ethical and theoretical responses to news and social media imagery from Gaza in October 2023
