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Kiosk
No full textThe output consists of a body of 22 hand-made, small-scale architectural models that replicate European street kiosks. The research addresses questions about the nature of kiosks as symbols of aspects of contemporary culture such as transience and the fragility of small-scale commerce. Through this, it explores larger issues around the way disused architecture can incite reflection upon the impact of global systems of production and consumption on collective urban experience. Kiosk was selected for two international exhibitions: Intersection, Scottish Architecture Fringe 2017, Edinburgh, 14–16 July 2017 and Make-Shift, Collyer Bristow Gallery, London, 12 October 2017 – 13 February 2018
Translating Research into Change: Reporting the Lived Experience of hEDS and HSD in Scotland
Get PDFThis report offers a comprehensive examination of the lived experiences of individuals with hypermobile Ehlers-Danlos Syndrome (hEDS) and Hypermobile Spectrum Disorders (HSD) in Scotland. The findings presented are primarily drawn from the “hEDS-START” project, an initiative aimed at highlighting the challenges faced by individuals living with hEDS/HSD in the United Kingdom.
Through a combination of surveys and patient engagement events, this project has gathered invaluable insights into the experiences of patients navigating the healthcare landscape in Scotland and focuses on the urgent need for a pathway of care within the NHS. Currently, there is a glaring absence of such a pathway, resulting in prolonged diagnostic journeys and inadequate access to specialist care for patients.
While we report here the survey data from the Scottish respondents, and the experiences discussed by our Scottish patient engagement group, it is important to bear in mind that these experiences are relevant to all of the devolved nations
I don\u27t know what I\u27m doing but I\u27m trying very hard
No full textI don’t know what I’m doing but I’m trying very hard (IDKWIDBITVH) is the title of an ongoing series of short videos, between 30 seconds and 5 minutes in length, and commencing in June 2018. The videos are shot on the front-facing camera of an iPhone and each records a monologue spoken by the artist following the exertions of a run. The videos, which appear inverted and focus on the chest and neck area, are characterised by the breathlessness of the voice and the image of sweat-soaked t-shirts. There are to date approximately 100 videos in the series and they are designed to be exhibited as well as as to be made available through a digital repository.The work extends Cruz’s longstanding interest in the use of text within the context of visual art. It brings together an investigation of the place of the autobiographical and confessional within contemporary culture with inquiry into the existence of works of art within the digital ealm, as digital files with a contingent set of possibilities for their manifestation and exhibition. The videos reference a number of characteristics and approaches towards performance developed since the late 1960s, specifically by male artists (Acconci, Nauman, Jan Ader). The videos filter these approaches through the contemporary device of the front-facing smart phone camera, the construct of the selfie and attitudes towards physical fitness and self-improvement. Three of a series of 15 photographs, with which this project originated, were exhibited in Aarhus, Denmark, in a group exhibition, The Catalyst Experiment, 1–30 September 2017. The videos were subsequently exhibited in a solo exhibition at Matt’s Gallery, London (8–16 September 2018), a group exhibition, DataLoam, Vienna (26 February – 8 March 2019) and through an online exhibition at MattFlix, Matt’s Gallery, 2020.They have also been presented at guest lectures at the Royal College of Art, London, CAFA, Beijing and the West Bund Art & Design Fair in Shanghai
Why Can\u27t a Woman be More Like a Man
No full textThis practice-based output is comprised of two original comic illustration works, created in the style of graphic novels: Why Can’t a Woman be More Like a Man (2018) and Granny Alice in Slumberland (2018). Doran created the works during her invited participation in a 10-day international artist residency at the European School of Image, Angouleme, France. The residency was part of Wom@rts, a €1.6M European Union Creative Europe Programme. Participating artists were invited to respond to Simone de Beauvoir’s The Second Sex, on the 70th anniversary of its publication. Why Can’t a Woman be More Like a Man is a single loose-leaf comic illustration (30 x 40cms) consisting of 4 full-colour panels. It is a visual and textual exploration of Christine Blassey Ford’s accusation of sexual assault against the Supreme Court Judge Brett Kavanaugh in 2018; a case that achieved instant notoriety for exposing the machinery of political power. Doran’s work presents itself as a feminist critique of this case, and employs comic illustration to interrogate the dynamics of male-dominated political institutions. Granny Alice in Slumberland is a single looseleaf comic illustration (40 x 30cms) consisting of 9 full-colour panels. The work presents a critique of the work of de Beauvoir and other first-wave feminists in their relative oversight of workingclass and other marginalised women. It does so through a quasi-fictional account of Doran’s great-grandmother’s career as a writer – which explores conflicts within the female identity. Text and image are combined in such a way as to explore a world where barriers to female cultural participation do not exist.The two works were presented in a touring international exhibition, at the following venues and accompanied by a programme of artists’ talks, outreach workshops, press conferences and opening events
Headspace App
Get PDFHeadspace App was an exhibition of seventeen works by Farquhar at Cabinet Gallery, London, from 1 September – 10 November 2018. It consisted of a collection of mixed media works and adapted found objects inspired by Farquhar’s daily life in Edinburgh, such as the commute on public transport, the use of meditation apps, visits to the municipial sauna, childcare, shopping and visits to the gym. Farquhar employs painterly, sculptural and moving-image processes, together with conceptual strategies, to advance the artistic potential of the readymade object. The works explore the impact of contemporary capitalist and consumerist culture on human experience and demonstrate ways in which forms of adaption and resistance can manifest. They combine this conceptual critique with an investigation into the technical and aesthetic conditions of image making in the digital age and attempt to further imagine the everchanging status of appropriation within contemporary culture. Following the exhibition at Cabinet, one of the works was selected for the 25th anniversary of the art fair Artissima at the Oval, Turin, Italy (1 – 4 November 2018). The fair attracted 50,000 visitors. The international fashion house, Symonds Pearmain, subsequently used Farquhar’s installation for their Spring/Summer 2019 collection. In place of hosting a runway show, they filmed their 2019 collection against the backdrop of Farquhar’s Cabinet exhibition
We began as a part of the body
No full textWe began as part of the body was a practice research project that interrogated the impact of technology and science on the body and human experience and ethical questions concerning these dynamics. It was developed with Professor Sara Brown, in the laboratory at the School of Medicine, University of Dundee, Scotland, and ASCUS Art & Science, Scotland’s first non-profit organisation connecting art and science. The project resulted in a multi-component body of outputs, including: 1. A 6 minute spoken word sound piece. 2. A set of thirty eight 3D printed skin cell models. 3. Three 360 degree photographs. 4. A Mixed Reality (MR) immersive experience for Magic Leap headset. 5. An 8 minute film. 6. An Augmented Reality app for iOS. The project sought to bring together scientific rigour with poetic methods, and make complex genetic research more accessible. It challenged audiences to think critically about science, their role and responsibility within genetic research, and the impact such engagement might have on our understanding of what it means to be human. We began as part of the body extends Hood’s interests in creating sophisticated, experimental and challenging, yet accessible creative research projects that explore the relationship between the body, technology and science, where research, practice and impact are intertwined
Iron: Mapping Material Practice
Get PDFThe output consists of a body of 19 sculptural works made of iron, produced by Gordon Munro in collaboration with Ewan Robertson. The works were presented in two solo exhibitions – Iron: Origins and Destinations at Edinburgh Sculpture Workshop, 2017, and Iron: Artefacts and Actions at Park Gallery, Callendar House, Falkirk, 2018. The research explores the historical, geological, social, cultural and aesthetic registers of iron and brings these findings to the contemporary practice of sculpture. By examining iron’s multiple facets and roles within and beyond art, Munro and Robertson map the diverse territories that tie the art object into an expanded domain of inquiry. The research seeks to unveil diverse perspectives on and understandings of the physical world and bring new light to the complex creative potential of a singular material. The exhibition Iron: Origins and Destinations was accompanied by a series of public events including a symposium, publication, practice workshops, archival film screenings and a documentary film about Munro and Robertson’s practice (see Appendix, page 28). The artists were subsequently invited to stage Iron: Artefacts and Actions at the historic Callendar House in Falkirk. The brief was to celebrate the 200th anniversary of Falkirk’s iron industry and its global impact by creating work that responded to and explored Falkirk Community Trust’s extensive Carron Works archive. A publication and public workshops accompanied the exhibition.The complete list of 19 individual works:1. Searchlight, cast iron, 70 x 20 x 20cm, 2014.2. Block and Maul, cast iron, 50 x 50 x 40cm, 2014.3. Filter Funnel, cast iron, 20 x 20 x 60cm, 2014.4. Timelines, cast iron, 24 x 14 x 15cm 2015.5. Coil, cast iron, 23 x 23 x 10 cm, 2016.6. Block and Rope, cast iron, 30 x 10 x 9cm, 2016.7. Book, cast iron, 18 x 18 x 22cm, 2016.8. Pulse, cast iron, 18 x 15 x 10cm, 2016.9. Hammer, cast iron, 52 x 8 x 19cm, 2016.10. Sump, cast iron, 20 x 14 x 28cm, 2016.11. Scroll, cast iron, 30 x 8 x 8cm, 2016.12. Fuel, cast iron, 60 x 30 x 30cm, 2018.13. Rake, cast iron, 26 x 17 x 7cm, 2018.14. Sleeker I, cast iron, 10 x 14 x 14cm, 2018.15. Sleeker II, cast iron, 20 x 20 x 20cm, 2018.16. Sleeker III, cast iron, 10 x 10 x 10cm, 2018.17. Spatula, cast iron, 10 x 6 x 10cm, 2018.18. Material Book, cast iron and cement block, 17 x 10 x 22cm, 2020.19. Meteorites from Wrocław, cast iron, 20 x 10 x 10cm, 2020
Limology
Get PDFLimology is an original 20 minute work in three sections for percussion ensemble, composed by Peter Nelson between 2017–18 during a fellowship from the Bogliasco Foundation, as part of a theatrical work in five parts, Nómadas conceived by Caribbean-born choreographer Henry Daniel. It was commissioned by Cambridge Music Conference for the Canadian ensemble Fringe Percussion. Nómadas is a collaborative work with composers Nigel Osborne (UK) and Owen Underhill (Canada), on the subject of the contemporary migration crisis. Preliminary discussions based on existing work by Daniel took place between the four principal collaborators, and one conceptual area was agreed for each of the three composers. Limology deals specifically with Mediterranean migration, using structural concepts from border theory. It forms the third part of the work, using images reflecting contemporary media representations. Swell portrays the surge of the Mediterranean, or any stormy crossing seen from a rubber raft or overcrowded vessel, passing from crisis to loss. Flight presents the imagined border between hope and terror, crossed and re-crossed in the mind of the migrant. Limbo evokes the temporary stasis of the refugee camp or detention centre. Thematic elements composed by Nelson for Limology were taken by Underhill as the basis for the final part of the work. The decision to work collaboratively was a conscious attempt to share concepts and materials emblematic of the cultural divides and reconciliations at the heart of the project. The place of performance, Squamish land in the heart of the city of Vancouver, was implicated from the start as a site of critical importance in the imagination of the work, as a site settled by immigrants. The cross-cultural imperatives of the creative process led to a work that presents its diverse materials as imagined in the contexts and contrasts of settler culture, and as recognising the encounters arising from contemporary migration
Strip Horizon
Get PDFStrip Horizon is an architectural and urban design for a flexible, scalable residential neighbourhood in the municipality of Runavík in the Faroe Islands. The work was shortlisted in an open, two-stage international competition. The final entry was presented to the jury and Faroese stakeholders in June 2016. The project developed multi-dimensional perspectives on architectural sustainability. The design incorporated environmental, economic and place-making components. It provided a theoretical reflection, a method of enquiry, and a case study. Critically, the design proposal experimented with a customised linear building typology unprecedented in the regional context of the Faroe Islands and the Nordic Countries. The design enquiry was repeatable and scalable in the Faroese context, but also in the broader context of the Nordic Countries. The stage 1 competition submission was amongst the top 4 finalists and received international press coverage (see Appendix, page 26). Relevant stakeholders in the Nordic Countries contributed to stage 2 development via public presentations (see Appendix, page 26). The project contributed to design debate within the regional context in co-operation with the other 3 finalist teams via workshops (see Appendix, page 26). The reflective critique initiated in stage 2 was further extended and redeployed in academic debate through the development of peer-reviewed conference papers. The project constituted substantial research incorporating multi-dimensional sustainability indicators synthesised in the form of an Urban Strategies Diagram (see page 22) that provided a novel methodological analysis tool that was both reflective and projective. Peer-review assessment was carried out twice during the competition process through an international jury in stages 1 and 2, with feedback from the jury following both stages. Academic publication provided further peer-review assessment
From Arthur’s Seat: A collection of short prose & poetry
No full textThe 9th volume of From Arthur’s Seat is a diverse collection of emerging writers from all around the world, brought together by Scotland’s UNESCO City of Literature. Production by the MSc Creative Writing students at the University of Edinburgh. Their differences make for an exciting collage of prose and poetry