7832 research outputs found
Sort by
Would it be okay if we told a story? Hoda Tawakol and Me
No full textHoda Tawakol is a mixed-race, Egyptian-British-French-German artist who began her artistic career formally at the age of 38. Was it motherhood that held her back, or caring for her anxious mother? Dr Omar Kholeif's essay merges poetry, critical biography, interview, and personal encounter to narrate the duo's collaboration around the artist's first major film work-a three channel film installation in which Kholeif served as a co-conspirator, interlocutor, and support structure.
Inspired by the three most important (and tragically difficult) women in her life, Hoda Tawakol weaves a personal narrative of life and loss that pierce in and out of the cinematic, via textiles, paper and designed 3-dimensional sculptural skins.
This book, the artist's first monograph, was co-edited by the artist, with state funds and features the expansive breadth of works and is anchored by the essay in English and in German, 'Would it be okay if we told a story? Hoda Tawakol and Me' by Dr Omar Kholeif, which reveals details about Tawakol's life journeys and their relationship with her creative practice
Engaging Young People in Heritage Contexts: design-led approaches to support collaborative participation within the cultural sector
No full textThis chapter presents approaches for supporting the collaborative participation of young people in cultural heritage research contexts. In seeking to amplify youth voices in cultural heritage debates, these approaches are informed by the principles of design-led innovation and studio-based pedagogy. The authors compare two examples of studio-based collaboration ‘in action’: the first explores craft practices with young artisans in Rawang, Selangor (northwest of Kuala Lumpur), with a focus on the precarity of craft practices in Malaysia; the second investigates connections to heritage with young people living in the Northern and Western Isles of Scotland, set against a backdrop of increased youth migration from island communities (HIE 2028). Whilst diverse in context, resonating themes across, scale, cultures and geographies emerged, which include connections to cultural assets and the tensions surrounding the commodification of cultural heritage. For young people engaging in craft education in Malaysia, the approach supported co-creation through the exploration of vernacular materials. For young people living in the Northern and Western Isles, this led to insights emerging from their lived experiences and perspectives on leaving and returning to their communities. In both cases, the authors evidence the contribution of design-led approaches for fostering creative spaces for the collaborative participation of young people to engage in and enrich cultural heritage dialogue and debates
Sustainable Futures through Democratic Design: Towards Community-led Democratic Localism in Rathlin Island
Get PDFThis report summarises learning from activities that took place on or in relation to Rathlin Island, Northern Ireland, through a funded academic project exploring the island’s sustainable futures using the lens of democratic design. Rathlin Island has a history of experimentation in relation to democratic involvement of citizens in public policy, including appreciative inquiry and visual minuting, which the report summarises. As an island, Rathlin reveals in sharp focus some of the challenges facing all societies about how to negotiate sustainability transitions while also maintaining a viable economy and equitable, liveable community. Building on this, between 2023-25, a team of academics and practitioners in the Future Island- Island (FI-I) project funded by the UK Arts and Humanities Research Council (AHRC)’s Green Transition Ecosystem programme, were supported to come together to explore, develop, examine and make sense of the possibilities for sustainable futures for Northern Ireland, through the lens of Rathlin Island as a place-based collaborator and teacher. This was carried out in close dialogue with the Rathlin Development and Community Association, the body that represents the Rathlin community and lobbies for improvements to services and infrastructure. The team carried out analysis of the current disjointed policy context and worked with island residents through a structured deliberative process, or democratic mini-public, to explore the future of the ferry service they are utterly dependent on, paying attention to how this process was designed and facilitated. The project’s learnings are firstly on the level of process – how to do democratic deliberation and policy design with a small community on an island, rooted in their world, perspectives and priorities. Secondly, the report shares policy implications relevant to Rathlin’s Island’s sustainable futures of relevance to policy officials and decision-makers with responsibility for Rathlin’s future in the Northern Ireland Executive and the UK Government and beyond. It concludes with recommendations related to the future ferry service for Rathlin and to democratic design towards sustainable transitions, both intended to share insights with wider publics. In summary, this report lays out an approach to doing democratic localism in which lived experience, local expertise and co-design are central to democratic policy development, cutting across traditional silos of government
Still Glasgow
No full textStill Glasgow, comprising over 80 works, showcases well-known photographs of the city drawn from Glasgow Life Museums’ collection alongside other, lesser-known works, some of which explore how artists work with the photographic medium and the city of Glasgow within their practice.
Some photographs on display have not been exhibited since their acquisition by Glasgow Life Museums, including Alan Dimmick’s portrait of rock band Franz Ferdinand, and David Eustace’s Buskers Portfolio from 1993.
Still Glasgow initially emerged from a conversation between GoMA Curator/Producer Katie Bruce and Malcolm Dickson, Director of Glasgow gallery Street Level Photoworks, after a visit to Glasgow Museums Resource Centre to look at works about the city in photographs held there.
From this early list of key works, the exhibition has expanded - for instance, to include moving image, with Roderick Buchanan’s film Gobstopper (1999), which riffs on the Glaswegian childhood game of trying to hold your breath while going through the Clyde Tunnel. It also explores the way in which artists use the photographic medium, including work by Alasdair Gray, as well as photos of artists at work, such as Joanne Tatham and Tom O’Sullivan’s Easels, and Oscar Marzaroli’s portrait of painter Joan Eardley in her Glasgow Townhead studio.
Alongside well-known names – including Linda McCartney, David Eustace, Bert Hardy, and Oscar Marzaroli – it gives space to other photographers and experiences, and other perspectives on the city, as documented through groups like Glendale Women’s Café, and Romano Lav in the Southside of Glasgow, and through Iseult Timmerman’s images of the Red Road Flats before they were demolished in 2015. It also highlights work by women artists, often over-shadowed by better-known images of Glasgow taken by male photographers. Notable amongst these is photographic panels from the groundbreaking installation What’s It to You? by video artists Stansfield/Hooykaas (1975).
Still Glasgow includes work by:
Khansa Aslam, Jane Evelyn Atwood, Khadija Aurangzeb, Zubaidah Azad, Sadia Azhar, Roderick Buchanan, Nick Danziger, Alan Dimmick, David Eustace, Alasdair Gray, Bert Hardy, Rashida Hanif, Larry Herman, Shahida Imatiaz, Keith Ingham, Nikola Krugova, Patricia Macdonald, Khalida Majid, Oscar Marzaroli, Linda McCartney, Joseph McKenzie, Shazia Rani, Stansfield/Hooykaas, Nazia Soofi, Joanne Tatham and Tom O’Sullivan, Anetta Tancosova, Iseult Timmermans, John T Thomson, Eric Watt and Matthew Arthur Williams
Thinskin
No full textA live spoken word performance presented as part of The Participatory Clinic at Glasgow Women’s Library (17 May 2025). The work takes the form of an autofictional account of an allergic reaction to an exhibition grounded in lived experience. Drawing on personal histories including childhood medical episodes and experiences within the Catholic Church, the text interweaves bodily hypersensitivity with institutional exclusion.
The script was printed onto the artist’s own NHS Scotland prescription forms. Through this material intervention, the work stages allergy as both physiological condition and metaphor for institutional friction, situating the archive and gallery as sites of exposure, illness and reaction
Pilgrim Squints: on the Camino de Santiago
Get PDFA philosophical and poetic meditation on relation and movement through time and space as a father and daughter walk across Spain on the Camino de Santiago
GIOFest XVII: Evening Film Reel
Get PDFA suite of films from the year of GIOGlobal ZOOM recordings was premiered in the Centre for Contemporary Art Cinema, with a virtual watch party on ZOOM beamed into the session. https://youtube.com/playlist?list=PLQw3tLmFowTT3xhgf_2dRaVVCUDPqqP9R&si=3TfZG5fjXCYqvDhh
As well as familiar faces from the Glasgow Improvisers Orchestra Global Orchestra, we featured spontaneously arising compositions from returning guests, such as "Lemon" Alipio C Neto (Brasil/Italy), "How does one become the richest person in the world?" Douglas R Ewart (Minneapolis), ".", Maggie Nicols (London) and Rachel Weiss (Miami), Vinny Golia (California).
Expansive original commissions were premiered:
- from Mood Rings, a mesmeric digital animation graphic score composed by Instant Places (Ian Birse and Laura Kavanaugh, Canada)
- Distributed Conduction, a prompt from Melbourne's Rob Burke, Clare Hall, Michael Kellett, Paul Williamson,
- Koeru, a rapid montage painting on the theme of "EXCEED" from the Association of Advancement of Creative Musicians Renee Baker (Chicago)
- Wave Particle and Impro Picnic, relay duet pieces staged by Minori Seki in Soja Art House, with the Okayama creative community.
A diverse cacophony of sounds were elicited by the arresting animated graphic scores, blurring of the edges of the zoom boxes in Minori Seki's innovative projection zoom feedback loop installation, bleeding the digital space into projected site specific installations, and dancers coalescing in around beautiful Japanese architecture.
The CCA Cinema audience were able to meet and greet the ZOOM performers during the screening, connecting to the performers weekly ritualistic performing recording sessions that have amassed over 600 hours of footage since March 2020
Sonic Worlds: Emotion in Sound and Experimental Film (SITElective) - to foster good relations between persons who share a relevant protected characteristic and persons who do not, through collaborative creativity and reflection
No full textAn analysis of the launch of innovative Undergraduate Cross-Programme, Cross-Year group School of Innovation and Technology Electives, focusing on the playful collaborations within "Sonic Worlds: Emotion in Sound and Experimental Film" elective (between groups of Product Design, Immersive Systems Design (3DModelling/Games and VR) and Sound for Moving Image students in Years 2 and 3.This was a project that drew students from lots of different world cultures and students from Year 2 and Year 3, across Programmes in the SIT UG population - there are methods and themes around emotional intelligence, with emotions from diverse knowledges communities to be interpreted through collaborative creativity. This presentation will draw out the features around teaching delivery, inclusive learning sessions, and coursework assessment structure that specifically enact principles of the 2024 Equality Impact Assessments drawn up for the GSA's Common Academic Framework (fostering good relations between persons who share a relevant protected characteristic and persons who do not). There will be an explanation of the behind-the-scenes collaborative work between PLs and lecturers across SIT to devise the SIT Electives, as well as highlights of results from the students' excellent, emotion inducing audio visual work (as well as their critical reflections).
THEME: Strengthening student engagement, community and belonging (but could also be Supporting student transitions in, through and out /Supporting students creative skills and capabilities for learning and practic
Theatre Screening: "The Sound of the Light, the Light of the Sound: Wave-Particle, David", "Imaginary Friends", and "Impro Picnic (for Piano and Hands)"
Get PDFThree films from the GIOGlobal ZOOM recordings were premiered in the Centre for Contemporary Art Theatre, as part of the GIOFest XVII 2025 Evening Concerts.
"The Sound of the Light, the Light of the Sound: Wave-Particle, David", and "Impro Picnic (for Piano and Hands) are playful and profound relay duet pieces that at times unfold to a large ensemble of dancers and musicians, staged by Minori Seki in Soja Art House, with the Okayama creative community.
For Impro Picnic Minori Seki offered the prompt: “Some musicians who come to Soja Art House plays online for the first time.
And maybe some people play improvisation for the first time.
I want them to enjoy online improvisation without being left behind....
I will try to do this in person event at first.It take our time more slowly than online score.
We will spend time lazily like a picnic in the field.”
For Wave-Particle, Minori Seki shared:
"We can feel only eyesight and hearing in our five senses on Zoom session through internet. We can’t feel sense of smell, sense of taste, and sense of touch yet. And sense of spatial recognition, too, the computer display is still two dimensions.
Naturally saying,
All sense of vision is feeling light.
All sense of hearing is feeling sound.
Sometimes when we watch, we can feel the sound.Sometimes when we hear, we can feel the vision.
Even if it's not so much that it's called synaesthesia, we naturally do this. I wonder it is based on our each experience since birth.
Sensations can be mixed together.
In the zoom session, musicians can mixed their sounds together .But visuals are separated, it is displayed on divided windows. This time I will try to mix visuals by using projector. This is only technical aspect.I believe, I always feel that sounds and visuals can be mixed in GIO global sessions! We can feel each other over the long distance.
Please join this session to feel “ 光の音 音の光”.
A diverse cacophony of sounds were elicited by the arresting images of David's virtual background films that integrated with his virtual body, which then were danced with by Minori Seki due to her innovative projection zoom feedback loop installation, bleeding the digital space into projected site specific installations
"Imaginary Friends" is a short spontaneously arising film that spotlights a duet from improvising musician and experimental filmmaker Chris Parfitt, Wales, and Constance Cooper, an actor/composer/musician New York city. The duet is in response to the prompt of our friendships that formed over a ritual of weekly ZOOM recording sessions, between artists that have never met in a shared physical space - we asked, does this mean we are eachothers' imaginary friends? The performers share ambiguous and expressive hand gestures, incorporating humorous illusionistic paper hand props as a way of waving to eachother, across an ocean. The dance stimulates an improvised musical response from the Glasgow Improvisers Orchestra Global ZOOM ensemble. This spontaneously arising piece, seemed to plant the seed of the idea for "When is a Mirror not A Mirror", a Hybrid Piece for ZOOM orchestra and ROOM orchestra - which asked Chris Parfitt and Constance Cooper to project physical gestures on ZOOM into the darkened theatre to conduct the ROOM orchestra.
These films allow the audience to feel the ZOOM performers expanded corporeal presence in the large theatre space, conveying the essence of weekly ritualistic performing recording sessions that have amassed over 600 hours of footage since March 2020
Liquid Light
No full textThis solo exhibition presents a body of work using watercolour pigment on paper. This process extends from an ongoing fascination with fluid medium on paper which has recently involved hand made inks, drawing and printmaking processes. This exploration has gradually moved from abstraction towards a more representational language using tone. 'Liquid Light' extends this language further exploring the significance of location and place through colour and pigment. It is a subjective enquiry into memory and feelings (be)longing.
This current exhibition of work at 'Bottleworks' in Newcastle consists of 21 watercolour paintings exploring connections to place. Three of the key works in the exhibition 'Liquid Light' explore reflections on the surface of the Ouseburn river which is located directly outside the gallery. This post-industrial site is where Liddle-Henzell Glassworks was located, a major bottle manufacturer. Like many factories in the area it was responsible for polluting the river with contaminants including arsenic (As), cadmium (Cd) and lead (Pb). Many of these same chemicals are also found in traditional paint pigment.
Two of the water studies which have the title 'Fools Gold' are painted using water taken from the Ouseburn. Within the process of painting with watercolour it is the water evaporates and becomes an invisible trace whereas the pigment remains visible on the papers surface. These works attempt to explore what might be described as the ineffible