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Making with others: working with textile craft groups as a means of research
Get PDFThis paper discusses making with others as a means of researching the experience of making, with a particular focus on textiles. Group textile craft activities are widespread today; however, there are few documented examples of research by craft practitioners taking place in this context. The activities used by the authors, relating to stitching and knitting, demonstrate that ‘making with others’ is a highly versatile approach that can be adapted according to the variables presented by diverse research aims and questions. Shercliff ’s research is explored in detail as a case study, with three group making activities documented and evaluated. These examples are used to identify a number of attributes, which support the comparison and development of research-led participatory textile making activities. The strengths and challenges of these methods are discussed: a key strength is the gathering of rich data during creative activity, while a central challenge is the performance of multiple roles by the practitioner-researcher
Lunch with family
No full textLunch with Family is a short film (30’) on postmemory that was shortlisted in the Inspiration category at the AHRC Research in Film Awards held at BAFTA in London in 2016. Judges thought the film to be "visually and thematically engaging and called it strong".
The film reveals the tension between Slav-silenced history in Trieste and its impact on personal life and identity in a city-symbol on the former Iron Curtain, in Italy. The film intertwines the author's own story with the history of forced Italianisation of half a million Slavs, their persecution, their organisation in anti-Fascist groups, and the final attempt to delete this ethnic group, which, in Trieste in 1918, was more substantial than in Ljubljana – the capital of Slovenia.
As part of the wider discourse of postmemory, the films aligns with the work of other scholars: Anne Karpf's The War After: Living with the Holocaust (1997) and Marianne Hirsch's Family Frames: Photography, Narrative and Postmemory (2004), but also Eva Hoffman's After Such Knowledge. However, Lunch with Family goes further. It uncovers the long history of resistance and the fight for the existence of a community that does not see its history acknowledged in Italy.
Based on interdisciplinary research, archival material and interviews, the film establishes the use of research-by-practice on film as an adequate epistemological methodology to uncover long-buried events and to explore the loop of existential questions the situation provoked and continues to stir in Trieste's Slav inhabitants. A paper published in Screenworks (Vol.8, No.1) in January 2018 explored the context, methods and outcomes of the research enquiry, and Turina presented conference papers and screenings at events in Sheffield, York and Cambridge during 2016-17
Re-Making the Northeast: Trieste in Italian Cinema and the Re-Mediation of Silenced History
No full textThe Chapter considers how and why the author explored the silenced history of the indigenous Slovenian community in Trieste, which is largely unknown in Britain. Written from the point of view of a filmmaker associated with the current resurfacing of Slav culture in the city, it explores the relationship between geographical space, memory, and identity as tackled in the short film Lunch with Family (Turina, 2016). It interprets some of the most representative Italian films that influenced the official reading of the Northeastern part of present-day Italy
Ear Trumpet: Investigations in ‘sonic geology’
No full textGobbledegook Theatre’s Ear Trumpet is a site-responsive outdoor theatre performance in which a team of “sonic investigators” have discovered pockets of sound, trapped in the Earth beneath our feet. The show allows audiences to listen, using “ear trumpets”, a collection of recycled trumpets, trombones and gramophone horns that have been re-purposed as listening devices. In this paper, Dr Jon Croose describes the aurality of Ear Trumpet through a qualitative, practice-led methodology of first-person performance-as-research, interviews with the artists, and analysis of audience response. The essay considers Augoyard & Torgue’s notion of ‘sharawadji’ in Ear Trumpet in terms of ‘sonic effect’ (2006, xv; 8) arising, the author argues, from its encouragement of ‘the consciousness of early listening,’ (2006, 13) and through a combination of the sonic effects of anamnesis, de-contextualisation, de-localisation, attraction, phototonie and quotation. The paper considers how Ear Trumpet positions the relationship between ‘physical environment, the socio-cultural milieu, and the individual listener’ (2006, xiii) and reveals how participants’ suspension of disbelief in the pseudo-science of ‘sonic geology’ allows them to posit the possibility of multiple ‘historic dimensions of sound’, in a way that reframes their everyday soundscape and ‘magically and suddenly transports [them] elsewhere’ (2006, xv). Finally, it raises questions about the effect of sharawadji in terms of the tension between theatrical illusion, “belief” and critical distance among audiences, and considers a possible politics of aurality in performance contexts
‘The elsewhere of my mind…’: reflections on the art of Stanley Spencer
Get PDFThe Nobile Index is a series of monographic publications of art sales prices achieved at auction, for a selection of leading 20th-century British artists. Stanley Spencer, arguably one of the greatest British artists of the twentieth-century, is also renowned for his chequered sales history and money struggles.
This rigorous study into the prices his work now commands at auctions demonstrates the significance of major sales over the past twenty-five years and the increasing value the market places upon Spencer's paintings. The publication comes in two sections - an introduction by renowned Spencer specialist Professor Paul Gough, results and analysis, and a booklet insert of appendices
Bansky: What’s the fuss and why does it matter?
Get PDFPrankster, polemicist, painter, Banksy is arguably the world’s most famous unknown street artist. To the press and public, the question of Banksy’s identity is more intriguing than the legitimacy of his work and the price that celebrities, dealers and other wealthy patrons are prepared to pay for it. His greatest triumph has been his ability to keep that identity swathed in mystery, even though the artist’s name is said to be in the public domain beyond all reasonable doubt, readily available on Wikipedia and subject to myriad press revelations in the past five years. Anonymity is less important than the impact of his art, which is more than likely created, fabricated and situated by a group of collaborators. For this reason alone Banksy might best be understood as a ‘he’, ‘she’ or even ‘they’, but for all intents and purposes Banksy is widely-held to be a white male, now in his early to mid-forties, born in Bristol, western England and brought up in a stable middle class family, a pupil from a private cathedral school and a one-time goalkeeper in the infamous Sunday soccer team The Easton Cowboys. At least that is what we think we know. These are the known unknowns
Contact: A festival of new experimental film and video
Get PDFThe Contact Festival included the work of over 70 artists and filmmakers, featuring single-screen films, multi-screen/performance-related works and site-specific installations. Accompanied by a publication including discussion pieces by Luke Aspell and collective-iz (on collective practices), Sally Golding, James Holcombe and Cathy Rogers (on different manifestations of contemporary expanded cinema), and short essays by Maria Palacios Cruz (LUX, Deputy Director), William Fowler (BFI, curator of artists' moving image) and Nicky Hamlyn (filmmaker and writer), plus complete listings
Deep Decay: Into Dia-chronic Polychromatic Material Fictions
Get PDFThe deep geological repository project for the long-term storage of radioactive material opens an encounter between design processes in the present and the ‘deep time’ of 4.46 billion year futures. Beyond debates around ethics of responsibility to future generations, this paper argues,
this invokes a more radical futurity, where human thought confronts its contingency alongside nuclear timescales. Art practices play a key ‘stakeholder’ role in imagining repository sites, in a context where they are both rooted in materialities of stochastic decay process and necessarily subject to interdisciplinary transformation. This paper asks what specific knowledge art practices
could give us in this context. What are their potentials and problems? And what could this mean for the historical conditions of ‘contemporary art’? It does this through departing from the 2010 film Into Eternity and its production of awe-struck ineffability through cinematic allusion to massive duration. Deep radiological times are proposed instead not as ‘eternity’ but as ‘very large
finitude’ (Morton), not immeasurable but as call to develop art practice through collective experimentation and technological augmentation. This extends Nick Srnicek’s proposal for an ‘aesthetics of the interface’ as a making operational of complex data through making it amenable
to the senses, and concludes with some propositions from the author’s current art practice
Zawn: Walking West Penwith. Cliff-edge Painting by Paul Lewin
Get PDFIn 1989, at the age of 22, Paul Lewin left Bristol, where he had studied Fine Art for three years and travelled three hours south to West Penwith in Cornwall. He intended to stay for a few months so that he might rekindle an interest in the Cornish landscape he had first experienced at art school. He never returned north and has been based in the far south-west ever since.
Lewin hailed from Manchester, that vast conurbation and 'ideopolis' in the north-west of England, arguably the country's second city after London. As a young boy of seven or eight, he remembers being taken for a visit to nearby Stockport College of Art by his father, who was then studying textile design and helping to mix the coloured gouache paint for intricate wallpaper and carpet designs. A talented child at secondary school, the young Lewin showed such potential in drawing that he gained a place at the same college, which was then renowned (as it still is) for its attention to the essentials of fine art practice. Lewin prospered under the guidance of such lecturers as Duncan Watnough and Derek Wilkinson who laid taught drawing from rigorous observation and laid down the principles of the craft of painting.
This new book takes the form of a collection of existing paintings, and others created specifically for this publication, each painting marking a walking line west from Newlyn along the headland to Land’s End, then north to Zennor. The images are accompanied by a text written by Paul Gough. contextualising Paul Lewin’s practice in the history of Cornish painting, the tradition of en plein work, but also offers a commentary on the artist’s sojourn across West Penwith. The book also includes an interview between the painter and writer which covers the artist’s approach to painting, his methods, materials and those artists and writers who matter most to him