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AMASS
Get PDFAMASS documents and augments 'Amass Radiant Heretics', a 17-hour live internet stream that took place on midwinters night 2020. The artist's book is a collision of the contemporary experience of digital togetherness with residual ideas of ritual and event. AMASS, is fire and light, death and rebirth, a celebration, a gathering, a reading, a performance and a happening; an evocation of the new underworld. The initial all-night online event included original practice research by Jim Smithyes within a digital curation by The Antivoid Alliance (Jim Smithyes, Caleb Madden and Grant Cieciura) incorporating the work of 30+ other artists
Cultural and creative districts: a literature review and a taxonomy
Get PDFCultural and creative districts have become a popular instrument of socio-economic regeneration and governance in many areas of the world. This chapter is a concise overview of main economic research on cultural and creative districts or cultural and creative clusters, their main features and different types that exist, as well as their theoretical background. It also accounts for types of governance and administration models, and discusses various elements of monitoring and indicators that are usually used for the measurement of districts and cluster performance, and relative recent developments. It finally offers a taxonomy based on some examples of case studies of successful districts, where they are located, and their characteristics at start, growth and maturity phases of their life
The PORTRAIT ROOMs
No full textThis new bookRoom press publication is based on a close reading of a large sample of British carte-de-visite studio portraits (1854-1868), collected by Caroline Molloy (2016-20) as part of her PhD research, that looked at the politics of representation in the photography studio. The work highlights aspects of the photography studio that conform to a conceptual framework through which socio-cultural aspirations of the sitter are experimented with and performed.
This publication was featured in a vitrine and as a publication as part of the Family and Other Ties exhibition in the Foyer Gallery Farnham
Let There Be Calamities: 26 ways Queen Kunti praised Krishna (The Krishna Series)
No full textThe Mahabharata war has just ended. Yudhishthira, the eldest Pandava is seated on the throne of Hastinapura. But even after the war has ended, danger still persists for the Pandavas. This book shares some of those untold tales - how Krishna helps Arjuna subdue Drona's son, the murderer of the Pandava children, how he saves the unborn child of Uttara, the daughter-in-law of Arjuna, and how he advises the Pandavas at every step of the way.
As Krishna prepares to return to Dwarka, he is approached by Queen Kunti who prays to him for calamities in her life. She has figured out that whenever danger is present in their lives, Krishna is by their side. She extols Krishna's glories and praises him in 26 different ways.
The illustration on the cover is by celebrity artist Malini Karani PhD in a unique motif style which depicts the all knowing Krishna and Kunti's increasing awe and admiration for him as she sets out to sing his praises
Women in design
Get PDFThroughout the history of design, women have been overlooked or overshadowed, their work frequently sidelined or credited to their male peers. Women in Design offers a comprehensive introduction to women’s legacies in the fields of architecture, craft, fashion, furniture, interior, product, textile and graphic design, and a vital corrective to male-centric histories of design.
Leading design writer and historian Anne Massey considers the struggle for design education and employment, the early prevalence of women ‘behind the scenes’, the rise of women-led fields such as interior design and the design activism of the late twentieth century, drawing together the work of women designers from May Morris to Elsa Schiaparelli, Anni Albers to Zaha Hadid. With over 150 images across seven chapters, Women in Design is an important, accessible contribution to the history of design from the twentieth and twenty-first centuries
At Home: Panorama de nos vies domestiques
Get PDF"At Home: Panorama de nos vies domestiques" is an exhibition commissioned for the 12th Biennale du Design Saint-Étienne (6th April - 31st July 2022). The exhibition was co-curated with Professor Penny Sparke and Dr Jana Scholze of the Modern Interiors Research Centre at Kingston University with exhibition design by Plaid and graphics by Lombaert Studio.
The exhibition explored how the Covid-19 pandemic had led to billions of people being locked down, all over the world, for long periods. In this context, on top of their historical role as places of refuge and care, domestic spaces have also been turned into schools, gymnasiums, cinemas, offices and workspaces, and more. Although this public health crisis is not the subject of the exhibition, At Home gave visitors a chance to reflect on the meaning of "having a home" in the past, now and in a post-Covid future, and on the way architects and designers are working on the idea of home today.
This exhibition addressed that scenario from a critical standpoint,through five themes: Utopia, Shelter, Identities, Wellbeing and Connected.
The exhibition was accompanied by a programme of talks and events and the co-curators are currently working on an accompanying publication
Classic workout
Get PDF'Whatever I do I cannot control what is going to happen' (1).
As part of Il Nuovo Mondo curated by Camilla Boemio, UK based artist Greig Burgoyne has been invited to explore the connectivity or not, between places, people and actions, and in doing so reveal our presence. In the hegemonic system of capitalism, imposed synchronicities reign. This is where high-performance culture and the fall out that is human impotence collides with a faceless technological futurity. Whatever we do short of becoming automatons, being human is an obstacle to that digital future, neither fast enough, efficient enough, nor reliable enough.
Yet Presence is made by encounters. Those encounters are determined by our actions and gestures. In this, it is a dialogue between things and events, between object and subject. It is where habits are formed, but also where they mutate, rupture or disperse.
Based on the collection of statues within the classical art museum, Burgoyne, working with an invited group of performers, observe, record, and collate a set of gestures and articulations that reflect the energies and movement within the figures that reside in the numerous corridors of this vast collection. The result is less to extend what these statues look like, but instead animate and contest that space between object and viewer as a dynamic field of potential, surprise and absurdity. Maximum effort, minimal gesture.
Walter Benjamin writing on Berthold Brecht tells us gestures are found in reality, the now, but to duplicate those gestures of the past is little more than imitation. Indeed, in And- phenomenology of the end Berardi states ‘Language is becoming more and more fragile, as a new generation of humans is learning more words from machines than from their mothers’ (2).
Paradoxically, through repetition and accumulation, Classic workout imitates body language of old whilst leading to divergence, through our inability to follow to those very actions in the first place.
This is less an event watched by the spectators, but a participatory keep-fit routine of sorts, performed within the exhibition halls of the museum. Classic workout is where participants mimic one statue or pose after another, as the original gestures are shared and repeated, they mutate, and new energies and synchronicities emerge perhaps indicative of actions and activities we have yet to know or define. The classifications and imposed constructs of duty, strength, power and heroism are intensified, in doing so, paradoxically revealing vulnerability, fragility- Immersing us instead in a non-hierarchical if precarious state of emancipation.
Classic workout is to live beyond what is seen and as a collaborative work, go to places one might not have gone on one’s own
A Scholar's Rock
Get PDFThe Barcelona Pavilion, designed by Ludwig Mies van der Rohe was the German Pavilion for the 1929 International World Exhibition in Barcelona. The building was used for the official opening of the German section of the exhibition. It is an important building in the history of Modern architecture, known for its simple form and its innovative construction, particularly using glass and steel. Despite its spectacular use of extravagant materials, such as marble, onyx and travertine, the building rejects any celebration of the ornament.
In A Scholar’s Rock , Klenz is not interested to present the Barcelona Pavilion as modern architecture synonymous with repetition, regularity, and mass production but instead her work interrupts regularity, turning the rational on its head. Klenz is interested to engage with dimensionality that allows the building to be seen and interpreted in multiple ways: from every other point of view, the building looks like something different. Her work distorts, multiplies and inverts the viewer's conception of space, leading him/her into a palace of illusion in which the depth of spaces is as hard to gauge.
In Klenz' presentation of the pavilion, the building is represented as an open-ended form in a state of perpetual becoming. The hard edges of the architectural structure fade into gradations of light: asymmetry and delicately broken horizons offer a different idea to the inflexible grid like structure and perfect order of the building itself.
The various photographs are presented as folded objects on pencil drawings of studies of various scholars' rocks. Like the pavilion itself, the photographic object shifts in appearance depending on the viewer’s perspective, becoming a baffling conundrum or kaleidoscopic merry-go-round.
Construction is part of this body of work, not just in the sense of constructed and built pavilion but also as a conceptual approach to what a photographic image can be: a transmutation of two dimensions back into three. Interestingly, Klenz' works do not represent the German Pavilion as a fixed object but rather presents many variables of the same building: the endless refractions and reflections change the pavilion into a building with endless combinations.
The works refer to scholars' rocks both by titling the body of work in this way but also by using pencil drawing studies of various scholars’ rocks as the backdrop of the folded image. A scholar’s rock functions as "vessels of modern fantasy and imagination” (Craig Clunas) suggesting plants, rocks, bodies, flames and mountains. They existed in nature before they became prized objects collected by museums and individuals. It is believed that this transition occurred in Qing Dynasty (1644-1911) but some date back to Ming Dynasty (1368-1664). The pleasure of studying a scholar’s rock is given by their presence, the endless variety of their surfaces, the mystery of their holes, quasi-architectural and quasi-somatic quality, the logic of their vertical joints and horizontal strata, the dynamism of their alternating expansions and recessions. The challenge and gift of a scholar’s rock is to sustain the play between observation and imagination and like Mies van der Rohe’s pavilion itself, A Scholar’s Rock brings the world into more complex and variable relations.
Between 1919 and 1927, El Lissitzky produced a large body of paintings, prints, and drawings that he referred to by the word Proun, an acronym for “project for the affirmation of the new” in Russian. These works were prototypes for visionary inhabitable abstractions in which the visitor could experience geometric shapes and linear vectors wrapping around corners and launching toward the ceiling. In his transformation of the two-dimensional works into “abstract rooms” (such as the Proun Room installed at the Greater Berlin Art Exhibition in 1923 or Abstraktes Kabinett in the Hanover Landesmuseum in 1927. ), Lissitzky was part of a general blurring of disciplinary boundaries.
What makes the works of Lissitzky interesting and divergent is that they include apparently contradictory domains by shifting different modes of representations - perspective, axonometry and photomontage. His radical re-conception of space and material is a metaphor for the fundamental transformations of two-dimensional planes into three-dimensional forms, in his own terms, to be ‘neither painting nor architecture but midway station between the two’.
In the exhibition display of A Scholar's Rock, Klenz includes ideas of Lissitzky by using coloured glass, glass shards, marble, travertine and shelfs that display the work from different angles to present Mies van der Rohe’s pavilion as ever-changing and ever-evolving. The exhibition of the work echos the pavilion’s endless variety of presence and like a scholar’s rock, the exhibition display creates shadows and shapes and refractions and reflections
Extended senses: designing emotional immersive experiences with VR haptics
No full textAn online talk hosted by the University of Wolverhampton, with artist Dr Camille Baker, Professor in Interactive and Immersive Arts, University of the Creative Arts.
Inspired by her own experience with the health care system to treat a post-reproductive disease, interdisciplinary artist and academic Baker created the project INTER/her, an immersive installation and VR experience exploring the inner world of women’s bodies and the reproductive diseases they suffer. The project was created to open up the conversation about phenomena experienced by women in their late 30’s (sometimes earlier), their 40’s, and sometimes after menopause. Working in consultation with a gynaecologist, the project features interviews with several women telling their stories
Upper bound projection and stochastic isovists; a solution to the comparison of visibility graph analysis systems
Get PDFVisibility graph analysis (VGA) (Turner et al., 2001) is a widespread technique in the space syntax community, used to evaluate urban and building designs. To compare different spatial configurations, architects and researchers have relied on the use of the measure integration, based on D-value relativisation. This paper points out that this form of relativisation was developed originally for convex and axial analysis, the graphs of which have different structural properties compared to the kinds of networks found in typical VGA graphs. Using a new technique of incrementally increasing visibility graph density, we show that the integration value for a fixed point does not remain constant as the size of the graph/network increases. Using several graphs, we empirically demonstrate this non-consistency. We evaluate Tecklenburg (Teklenburg et al., 1993), NAIN (Hillier et al., 2012) and depth-decay methods of relativisation and show that these processes do not empirically produce the necessary stability required. From this, we conclude that it is difficult to compare integration values for VGA analyses using the traditional measure of integration based on known relativisation techniques.
To solve this, we introduce the notion of Restricted Random Visibility Graph Analysis or R- VGA. A fixed number of randomly distributed points spread over the system. Using R-VGA as a gold standard, we then introduce a new empirical relativisation called upper bound projection relativisation (UBPR) specifically for the relativisation of gridded, non-gridded and other dense isovist graphs. In conclusion, we suggest that traditional integration relativisation (the D-value) will always create only approximate solutions. Using UBPR, it is now possible for researchers to accurately compare different spatial models of different sizes
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