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San Sabba
No full textSan Sabba is a short film (29‘ 50”) that debates the way we conceive of sites of memorialisation, the way they represent people and who they were in the past. The Hollywood International Independent Documentary Awards gave the film the Recognition Award in June 2017 and screened the film at the Awards event in Los Angeles, US, in March 2018.
Building on the method tested with Lunch with Family, this film displays the archival research and personal engagement in the discovery of the Axis Concentration Camp of the Risiera di San Sabba in Trieste, Italy, which was active from 1943 to 1945. The film debates the alignment of the Museum of the Risiera di San Sabba to the narrative of the Holocaust, as the site was predominantly used for the detention, interrogation and killing of freedom fighters and their families.
San Sabba aligns with known works within the Holocaust film tradition, as it explores events that took place within the same logic of genocide. Especially relevant are filmmakers as Alain Resnais, Night and Fog (1955), and Claude Lanzmann, Shoah (1985), because they tackle the unseen issues related to the depiction of genocide. Equally important is the work of Jeremy Hicks, The Unseen Holocaust of WWII (2014), which casts questions on the predominantly camps based narrative of the Holocaust. However, San Sabba opens the discussion to the concept of memorialisation in Italy, as the camp in Trieste fails to reveal the documented purpose of the site.
Full screenings of the film took place in York and Athens in 2017, and at the Hollywood International Independent Documentary Awards, in March 2018. Turina presented conference papers and particle screenings at peer-reviewed events in Sheffield, York and Cambridge during 2016-17
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
Contact: A festival of new experimental film and video
Get PDFContact: A Festival of New Experimental Film and Video, Apiary Studios, London, 6-8 May 2016. Curator.
Participating artists including George Barber, Louisa Fairclough, Nicky Hamlyn, Sally Golding, Malcolm Le Grice, Karen Mirza & Brad Butler, Matthew Noel-Tod, Heather Phillipson, Greg Pope, Lis Rhodes, Ben Rivers, Guy Sherwin & Lynn Loo, Jennet Thomas, Jennet Thomas, Andrea Zimmerman.
Contact: A Festival of New Experimental Film and Video featured 70 film, video and performance artists across three days in its venues’ three studios. Its curatorial focus combined a multiplicity of forms, in an accessible and aware manner, which brought together niche and new audiences and formed an important contribution to the contemporary condition of experimental film practices in the UK.
This independent survey, which was supported by ACE, presented single and multi-projector and performance-related works, and specially commissioned installations. To schedule the works in a relatable manner an innovative structure was initiated – the works were presented in small clusters, rather than the normative, often lengthy and formally inappropriate, short film programme format - which challenged viewing hierarchies, introduced new artists, providing the opportunity for the ‘sampling’ and discovery of unknown works. This conception was appreciated by the audience and artists alike (William Raban wrote: ‘Your programming was enlightened').
The Festival programmed established and emerging artists, from original members of the London Filmmakers Co-op to recent graduates, who showed new and untested works. These were selected in consultation with organisations such as no.w.here, collective-iz, Unconscious Archives, Nightworks and Screen Shadows. This ethos reflected the field’s and Festival’s co-operative and collaborative intent, and was emphasised by the supportive presence of many of the artists throughout its duration.
To document the event’s intentions and methodology a publication was produced, which included contextual essays, discussion pieces and all the Festival’s details (Guy Sherwin wrote: 'the brochure is simple, informative, elegant’). This also addressed its legacy through further disseminating its composition and ideas, as such collectable reference points are vital indicators of experimental film and video’s development. The Festival’s discursive structure, which celebrated the fields’ diversity and vibrancy, was enthusiastically and critically received, with each day selling-out
1970s British experimental film: Images in shadows and light
Get PDFThis article draws on the comprehensive historical account outlined in the author’s recent publication on 1970s British experimental filmmaking which challenges the problematic ‘return to image’ thesis evident in most historical accounts of the decade, arguing that image-rich, expressive, personal and representational films were in evidence throughout the decade. The article includes examples of the ‘return to image’ thesis, demonstrating how this has problematically perpetuated the flawed account of the decade. It also outlines the countercultural, psychoanalytic and mystical influences on filmmaking and on American critic, P. Adams Sitney’s taxonomical distinctions – ‘psychodramatic trance’, ‘lyrical’, ‘mythopoeia’, and ‘diary’ – which provide illuminating characteristics useful for examining some of the personal, expressive forms of 1970s British filmmaking. It gives an understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the decade, to a veritable ‘explosion’ of filmmaking by the end of the 1970s
Glitch, craft and illustration
No full textThis paper addresses the contemporary and simultaneous rise of glitch art alongside the contemporary turn to craft within the illustrative field. Starting from an analysis of Menkman's 2011 The Glitch Moment(um), it seeks to understand the use of glitches and errors within the illustrators visual vocabulary, through aesthetic and symbolic interpretation of the glitch moment. Drawing upon the concept of the 'glitch-like' as a frequent description of the illustrator's relationship to the error, it argues that the professional illustrator is frequently constrained in their use of pure glitches within their working process due to a number of factors; and instead utilises the error initially through experimental appropriation, and then through normalisation and finally incorporation into the toolbox of the artist. However the paper also recognises the increasing prevalence and (literal) encoding of glitch-like readymades within modern software and associated artistic tools.
The paper proposes that the digital glitch in contemporary illustration exists as an attempt to encode and render the materiality of the digital process and digital product visible, in much the same way that the rise of traditional craft and imperfection in other areas of illustration practice seek to make visible evidence of the artist's hand and the materiality of working processes. The paper seeks to address the inherent contradiction that exists between the notion of craftsmanship and error, and suggests that disruption of the flow of work offers a valuable intervention that enables us to evaluate and re-interpret practices, both as maker, and reader of visual texts
Towards an emancipatory praxis of pedagogy: supporting acting students with dyslexia when working on Shakespeare
Get PDFThe presence of students with SpLD (dyslexia) in actor-training institutions is an increasingly common occurrence. This article argues that there is an urgent need to develop inclusive strategies of support in the voice and acting studio that can effectively enable those with dyslexia, while promoting equality of opportunity for realization of potential. Focusing on the author’s research concerning the facilitation of acting students with dyslexia in the areas of reading, speaking and acting of Shakespeare, this article begins by highlighting specific difficulties presented by dyslexia. It goes on to describe a case-study of two acting students with dyslexia and their visually led methods employed in entering Shakespeare’s text. The second workshop section offers a pedagogical strategy for the inclusive voice class when working on Shakespeare, while the third section dedicated to participant three demonstrates how a dyslexic acting student uses a visually led approach in enhancing her articulation of speech and extrapolation of meaning in the text. Underpinning the investigations with analysis and theory, the author concludes by sharing her research findings, seeking to stimulate further discussion within the community of voice and actor- training
'Back from the Front’: Art, Memory and the Aftermath of War
Get PDFIn the year which marked the centenary of the start of the First World War, a series of creative projects in Bristol considered past, contemporary and continuing conflicts. A unique record of these exhibitions and events has now been captured for this book.
Under the generic title Back From the Front: Art, Memory and the Aftermath of War the projects consisted of five overlapping exhibitions staged at the Royal West of England Academy in Bristol, UK - a curated show of work by John and Paul Nash; a unique gathering of work by contemporary artists examining war and peace under the title Shock and Awe: Contemporary Artists at War and Peace, and a sequence of exhibitions united under the word Re-membering, which were a series of commissions funded by the Arts Council England and co-ordinated by the Bristol Cultural Development Partnership and Bristol 2014. A fifth exhibition The Death of Nature gave a showcase to the recent paintings of Michael Porter RWA
For a city to come: The Material of Takuma Nakahira’s photography
No full textThis article discusses the work of the Japanese photographer Takuma Nakahira at the turn of the 1970s. Nakahira’s practice departed from the candid street photography (seen, for example, at the 1966 exhibition Contemporary Photographers: Towards a Social Landscape in the US), and sought means to not only document but also induce social and political change. Having a strong theoretical grounding in the specific discourses developing in Japan at that time around the notions such as the image (eizō), landscape (fūkei) and materiality (busshitsu), this practice is still significant to much of the present-day concerns with the potential of visual arts to envisage and produce new forms of urban inhabitation
Paper, table, wall and after
No full textPaper, table, wall and after was a co-curated international exhibition in 2015 of 108 paper-based artworks by 38 national and international artists, selected by Bowen and Chris Dorsett. It aimed to address ways in which a work of art continues to resonate after its creation and critiqued the disconnected moments in the ‘life story’ of an art object. The exhibition focussed on provisional, but vital, stages of making paper-based artworks and examined fluid open-ended possibilities for their interpretation through public installation. The project contributes to debates on how artworks continue to be ‘created and re-created’ after their completion by the artist through their display, preservation, reproduction and reception.
Artworks that could be folded and unfolded were made by 38 participants and installed across the gallery floor, encouraging intimate audience engagement; the installation thus blurred the boundaries between making and viewing. Visitors were invited to make additional pieces and to move artworks to different positions throughout the exhibition’s duration. The content and material nature of the artworks and the unfixed position of their installation, realised the aims of the project.
Bowen’s work with Dorsett spans several years of collaboration: her contribution to the project is distinctive as it instigated and investigated commissioned contemporary paper-based artworks and innovative methods of installation. Contextualisation by other researchers is reflected through conferences and papers including: (Afterlives, University of York, 2018); interdisciplinary workshops (The Afterlives of Art Works, University of Warwick, 2017) and scholarly articles (The Afterlives of Art, Toby Lichtig, TLS, Sept. 2013).
It is also contextualised within the framework of Bowen’s early and ongoing research interests as evidenced by her paper, Materiality and Transience Through Drawing Practice, delivered at the Fourth Early Modern Symposium, Art and its Afterlives, the Courtauld Institute, London, 2012. This paper explored the correlation between the material transformation of a series of Renaissance prints found frozen in the Arctic and their reinterpretation over five centuries. Paper, table, wall and after built on the symposium’s concerns with how, “art is shaped by its afterlives and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation”. In 2014 key concepts for the exhibition were tested out with co-curator Chris Dorsett, through an installation of paper-based artworks across series of tables and the walls and floor of Gallery North, Northumbria University, Newcastle.
Paper, table, wall and after was informed by Bowen’s ongoing research in the relationship between the materiality of drawing and the ephemeral nature of museum objects on paper, evidenced through collaborative research projects at the V&A, London and Rijksmuseum, Amsterdam (2006-12), and the conception, development and leadership of Paper Studio Northumbria (PSN), (2012-18). PSN provided a unique facility nationally and internationally for the research, teaching and scholarship of paper in relation to fine art, conservation and archiving. To further inform her understanding of the material characteristics of paper, in 2015 Bowen made research field trips across Taiwan to Shigeru Ban’s architectural construction which utilised cardboard tubes, and to handmade paper mills.
The installation took place in The International Exhibition Hall, National Taiwan University of Arts (NTUA) and Yo-Chang Art Museum, Taiwan. November 2015. It was funded by NTUA. Research findings were further disseminated in lectures in the International Exhibition Hall highlighting research themes through round table discussions with Dr Chih Cheng Chen (Principal of NTUA) and Director of Yo-Chang Art Museum, Dr Chun Lan Liu.
The exhibition directly informed the nature of a floor-based installation of works by researchers and students from AUB and associated drawing workshop, Drawing Boundaries, Folding Islands, led by Bowen at the British Pavilion, Venice Architecture Biennale 2018.
Insights were effectively shared through lectures by Bowen at: Shigeru Ban Paper Dome, Puli, Taiwan (2015); Jilin University of Arts, (JUA), Changchun, China (2016); PSN, Northumbria University (2016) and Belfast School of Art (2015), and through a lecture and panel discussion, Jerwood Drawing Prize, AUB Bournemouth, 2017.
The exhibition led to an invitation from JUA, China, for Bowen to create a large-scale solo installation of paper-based and video works in 2016
A history of 1970s experimental film: Britain's decade of diversity
No full textThis comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade