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Note on Lee Bul at ‘Ssack’
Get PDFNote on the archival documentation of Lee Bul's participation in the exhibition ‘ssack’ organised in 1995 at Art Sonje Center in Seoul, which situates her practice within the history of exhibitions in South Korea
Carmengloria Morales: Rome, London, Milan, New York, Sermugnano
Get PDFThe exhibition Carmengloria Morales: Rome, London, Milan, New York, Sermugnano, was dedicated to the Chilean born artist Carmengloria Morales. Morales is celebrated as one of the most significant abstract painters working in Italy today. Although fiercely independent and avoiding all labels Morales was the only woman associated with Italian Analytical Painting movement of the mid 1970s, as well as an inaugural participant in the New York Radical Painting group of the 1980s. This exhibition traces Morales’s career through work she made in the five principal locations where she has set up her studio Rome, London, Milan, New York, and Sermugnano. The selection contains paintings and works on paper ranging from 1963 to the present, and includes important examples of her Dittico (Dyptych) and Tondo works
Flash Looking
No full textDuo exhibition with Michela de Mattei.
"The phrase ‘flash-looking’ suggests something slick and shiny, a high-gloss finish, a smooth way of operating. As a synchronising of parts, the phrase also suggests a quick glance, a glimpse, something seen out of the of corner of one’s eye: “What’s that”. Flash_Looking, featuring Toby Christian and Michela de Mattei, works through these connotations and more. Brought in dialogue, Toby and Michela’s artworks speak with and across each other with an anachronistic elegance, provoking questions about nature and being in our contemporaneous times.
At first sight, Toby Christian’s hand-carved stone sculptures may initially intimate modernist language. In an art historical sense, they echo the elliptical edges of Constantin Brâncuși’s sculptural motifs. Rather than discernibly figurative or representational, Toby’s small sculptures have a bare quality; it is as if they are supposedly sacred artefacts from a lost age, now removed from circulation, isolated and on display. After a quick sighting, sitting with these objects of quasi-allegoric fascination, one begins to feel a sense of familiarity; we begin to grasp memories of analogous forms, everyday things, which we have grown so accustomed to that they are fused to our technological actuality. Looking closely, Toby’s marble sculptures begin with twenty-first century ergonomic forms – things we have held and have been held by. Synthesising these designs for modern life’s ‘essential tools’, Toby’s carvings can be seen as slight allusions to how, in an ever-digitalising age, the hapticity of human life is becoming a rarefied thing: something inaudibly thin and efficient, so close yet esoteric, remote.
The silver foil ‘scratch cards’ which constitute Michela de Mattei’s HANDSIGHTINGS series look like flat sheets of trembling steel. Beneath these surfaces however lie grainy photographic stills, images which document the existence of the said to be extinct Tasmanian tiger (aka the Thylacine). These frozen moments each come from a 19’29’’ video, assembled and edited by Michela from footage circulating amongst an online network of ‘Thylacine believers’. Echoing the ‘quest’ undertaken by this network, Michela occludes each of her stills behind a screen of grey, re-translating these digital records into chance encounters. Following her own quest-like process, Michela scratches into her print’s silvered surfaces so as to slightly reveal their haunting presences. Building on her investigation into human inabilities to cope with extinction and loss, and the mechanisms we use to overcome these feelings, the formalities of Michela’s prints give an image to humanly forms of longing. Indeed, to the community of believers collectively seeking encounters with these ‘living ghosts’, aspiring to prove their existence. Flash-looking, these works not only image the imperilled Thylacine but pointedly suggest how acts of seeing are never neutral.
Unveiling the Edward Reeves Archive in Lewes
Get PDFEdward Reeves Photography, established in 1855, is a family run photographic business, with a working studio and shop. It is believed to be the oldest still functioning studio, in the hands of the same family, in the world. When I started this work the Reeves business had no organised archive, rather a set of different collections dispersed in various places in the building at 159 High Street Lewes, where the family also live. Concentrating on the period 1855-1974 approximately 250.000 numbered glass plates have been linked to corresponding ledgers and account books, correspondence, and ephemera. With the help of a group of local volunteers this paperwork is currently being transcribed so it can become an archive that will be accessible online.
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Under the name ‘Stories Seen Through a Glass Plate’ in 2014 eighty historical pictures of Lewes High Street were displayed as lightboxes, situated on locations depicted on the glass plates. With a turn of the head the viewer could experience the then-and -now effect of historical change. These exhibitions are now regular occurrences. The related programs of talks and events help deepen the understanding of the history of this English market town. There are currently forty volunteers working on different aspects of the project- notably the digitisation of the documentation. Outreach projects are devised that engage large segments of the local community.
This project can shine new light on the history of commercial photography in Britain as Professor Elisabeth Edwards has referred to this collection as one of this century’s most important findings in the history of British photography
Ethical Extended Reality: Bridging Technology and Cultural Heritage
No full textThe integration of Extended Reality (XR) technologies, including Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR), into cultural heritage uses advancements in Information and Communication Technology (ICT) and electronics that revolutionise the preservation, interpretation, and dissemination of cultural narratives. This paper discusses how XR technologies facilitate immersive, interactive experiences that enhance cultural opportunities and visitor engagement, utilising technologies such as 3D scanning and digital modelling to ensure the authenticity and accessibility of cultural experiences. However, the adoption of XR in cultural heritage raises significant ethical concerns related to the representation and appropriation of cultural narratives, particularly involving indigenous and historically marginalized communities. Addressing these concerns, this paper proposes adaptive, dynamic ethical guidelines designed as a ‘living document’ to evolve with technological and societal shifts, ensuring culturally respectful and accurate representations. By outlining strategies for ethical engagement, non-intrusive data collection, and community-centric approaches, this paper contributes a framework that promotes an inclusive, respectful approach to cultural heritage, ensuring XR technologies enrich rather than exploit the narratives they aim to preserve
With One Breath: Creating Art on the Climate Crisis between the UK and Uganda
No full textThis chapter reflects on ‘With One Breath’ - a socially engaged arts project undertaken with two groups of young people: one in the United Kingdom and the other in Uganda. The project engaged participants in an intercultural collaboration to explore local and global issues of the climate crisis across their different contexts, culminating in an interactive website. This chapter considers three key aspects of the project: the conceptual and contextual framing of the work; our attempts to create a dialogical form of engagement with the climate crisis through art; and the logistical challenges of doing so
Impact of Virtual Exchange on teachers’ and student teachers’ digital collaboration skills
Get PDFIf there is a lesson that the COVID- 19 pandemic has taught us it is that teachers have to be digitally competent to engage their students in online collaborative learning. This highly valuable lesson is here to stay, as some studies have emphasised (Educause Horizon Report, 2021). However, teachers are not always prepared to engage their students in innovative practices that foster the development of collaborative skills and digital competences (Hauck & Satar, 2018; Vinagre, 2017). One such practice is Virtual Exchange (VE), which has been increasingly integrated in teacher education programs because VE provides teachers with the opportunity to use technological tools, and to experience and reflect on their own technopedagogical skills in authentic intercultural contexts (Hauck & Kurek, 2017). Large- scale studies of student teachers who take part in VE have found that this pedagogical practice can indeed improve their digital collaborative skills (see for example The EVALUATE Group, 2019)
Five Years Correspondence Project: Carol Mancke, Edward Dorrian, Ilga Leimanis, Jhinuk Sarkar, Liz Murray, Phill Wilson-Perkin, Rochelle Fry, Sally Morfill
No full textThe Five Years Correspondence Project has quietly hummed along in the background of our lives over the best part of a year. Every so often that quiet hum hit a crescendo – a moment of joy and surprise – on the arrival of a ‘gift’ through the post.
Each ad hoc package circulated through the group contained a drawing initiated by one of the eight participants*. These sparked a series of cumulative visual correspondences, acted upon by each recipient in a random order determined by the original sender. Unlike the back and forth of a written correspondence between two, the drawings could only move forward through the list of names. With no knowledge of how each contribution was received, participants stepped into a new correspondence every time a package arrived. We will be revealing the drawings in their final state to each other and to the public for the first time at Five Years in March 2024.
Launched in May 2023 following an invitation to the membership from ilga and sally, the project has reached a first point of reflection – a chance to figure out what actually happened while working together apart, and where it might go next.
*We agreed to use parameters defined by the royal mail large letter format: maximum dimensions 25cm width, 35.3cm length, 2.5cm depth. £2.70 Postage (up to 100g) with a max weight of 750g
Digital Databases and Donald Duck Weekblad (or Double Data Entry is Double Dutch to Me)
Get PDFThis paper introduces a project examining fan understanding of the character coherence of transnational variations of Donald Duck in stories appearing in pan-European comic books, with those published in the Netherlands providing a central case study.
During the 1950s the Dutch publication Donald Duck Weekblad gradually started to introduce locally produced strips alongside their usual American reprints. Other European Disney magazines did the same, and soon began sharing material with each other. Strips produced in these other national centres of production would have to be translated and occasionally redrawn to fit the local context, such as dollar signs being redrawn to reflect the local currency, and thus the character coherence of Donald Duck was often unstable and subject to change.
This transnational translation and re-presentation of characters forms the focus of this project. It builds on the theoretical and methodological model developed in Hibbett’s book Data and Doctor Doom (2024) which provides a practical tool for measuring transmedia character coherence over time and media types.
The project engages with the online community based around the I.N.D.U.C.K.S. database, using their expertise to crowdsource data entry about the character. This will test the robustness of data entry systems and allow large amounts of data to be collected across Europe. Outputs from the project will include a re-useable data entry system and two datasets; the data generated by use of the tool, along with a separate survey of fan attitudes towards the character
(Anti-)Foundational Archives: Three Stories on Plunder, Restitution and the Commons
Get PDFThe formations of archives in the West are intimately entangled with the history of colonial plunder. If the act of looting is foundational to archival collections and the forms of knowledge they reproduce, what new foundations (or anti-foundations) do we need to build as a basis for constructing alternative and emancipatory pedagogies? This short talk is comprised of three scenes which act as fragmentary prompts to think about what foundational archives of education in art and design might look like from the vantage point of different geopolitical locales. Set in London, Kinshasa and Palestine, these scenes emerge from my engagement with each place in my various roles as researcher, editor and educator