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'NOMADIC DIALOGUES: Site, Place and Dislocation' - artist pages for 'Pedagogy of Place: A Field Guide to Reading Landscape for Artists, Architects, & Designers'
No full text'NOMADIC DIALOGUES: Site, Place and Dislocation' are artist pages by Brind & Harold for the publication 'Pedagogy of Place: A Field Guide to Reading Landscape for Artists, Architects & Designers'. This publication has been produced as a limited-edition workbook intended for a GSA winter/spring workshop on Reading Landscapes, developed by Fulbright Distinguished Scholar (artist & educator) Carol Elkovich in partnership with Glasgow School of Art (including members of the Reading Landscape Group).
Brind & Harold's contribution includes examples of their artworks, in the form of photographs and documentation of presented works relating to border territories in Scandinavia and Cyprus. Particularly in relation to the latter location, works from a series of Nomadic Dialogues is included.
The text written for the publication is intended to prompt questions about place and placemaking, and what it is to 'belong': whether any of these are or can be fixed; or whether they are in flux? And how our conception of such things can, importantly, be altered through embodied knowledge and experience of different places and different communities.
The text also includes a suggested action for practitioners and a series of possible practice-led strategies to use to explore and question responses to a boundary or border, including: phenomenological, archival and dialogic research methods. The text also prompts practitioners to consider appropriate audiences and different modes of dissemination for their ideas and work
'Design Your Menopause Life' as a pathway to successful ageing
Get PDFThe ‘Menopause - a Pathway to successful ageing - or not?’ research explores the life stage experience leading up to and following menopause and its impact on the ageing experience. Menopause is defined as a moment in time 12 months after someone’s final period. Peri-menopause is a time in someone’s life leading up to menopause but when symptoms or changes can be experienced. This research focusses on a time in a typical female’s lifespan whereby they are managing life, career or family responsibilities while experiencing symptoms of peri-menopause and menopause. It is well documented how exercise and health awareness can optimise and affect our health and wellbeing - our Physical, Emotional and Mental (PhEM) health can be supported through activity, exercise, social engagement, and education. The ‘Design Your Menopause Life’ (DYML) solution is envisioned as a digital and physical solution that empowers women as they experience peri and menopause symptoms
walkDrawings
No full textAn excerpt from my book belonging: Natural Histories of Place, Identity and Home
About this anthology, from the publishers: "Across the world, walking is a vital way to assert one’s presence in public space and discourse. Walking maps the terrain of contemporary walking practices, foregrounding work by Black artists, Indigenous artists and artists of colour, working-class artists, LGBTQI+ artists, disabled artists and neurodiverse artists, as well as many more who are frequently denied the right to take their places in public space, not only in the street or the countryside but also in art discourse. This anthology contends that, as a relational practice, walking inevitably touches upon questions of access, public space, land ownership and use. Walking is therefore always a political act.
Reading Landscape Field Guides #1-2-3 Book Launch
No full textThe Practicing Landscape Field Guide series has emerged from the online seminar series run by Reading Landscape in 2021-22, under the overarching title, Landscapes of Energy and Extraction.
Mining the Animal addressed the relation between the non-human animal, landscape and people. Specifically, the contributions explored how the voice of the animal reveals itself, whether through its absence or through artistic intervention. This publication is an expansion of the dialogue that occurred between the three contributors following their seminar.
In the second publication in the series, Gina Wall and Alex Hale shared their current collaborative work which explored heritage landscape-as-archive. Michael Mersinis acted as a respondent for the session and an expansion of the content of each of their contributions is published as Field Guide No. 2 – Landscapes of Energy and Extracton: Landscape as Archive.
In the first seminar in the series, Justin Carter and Onya McCausland were in conversation with geographer, Dr Danny McNally about their recent projects involving material extracted from the landscape. Dr Frances Robertson acted as a respondent for the session and an expansion of the content of each of their contributions is published as Field Guide No. 3 – Landscapes of Energy and Extraction: Material Agency and Meaning.
Avoiding the traditional monologic approach to presenting work, Justin and Onya built a shared dialogue framed by a small selection of relevant images used as way-finders. In keeping with their respective practices, their conversation was open and fluid, allowing ideas to emerge through conversation and exchange. This publication extends that approach, beyond the confines of the seminar, to explore various modes of engaging with materials as active agents within their art making processes
Landscape as Archive addresses the practice of what Henk Slager calls the para-archive, provoking affective ways of thinking and making that have the potential for new intersubjective relations to manifest between the human and the world. The archaeological tropes of excavation and stratigraphy speak to the discipline’s historic concern for the extraction and archiving of artefacts, including human remains, from the past. However, to think of the landscape-as-archive is to orient our attention to the surface, and to the archaeology of the present. The contributors to this Field Guide encourage us to slip between different temporalities in order to be fully conscious
Commentaries: Lawrence Abu Hamdan, 'Live Audio Essays'
Get PDFA written reflection on 'Live Audio Essays', a trio of performances by the artist and 'private ear' Lawrence Abu Hamdan, which took place during the 2024 iteration of the Glasgow International Festival of Contemporary Art
Work Exhibited in 'Jewellery all along the Line' - Galerie Handwerk
Get PDFParallel to the International Crafts Fair IHM in Munich, Galerie Handwerk had been presenting international jewelry exhibitions for years. They were linked to the special international Schmuck show at the Handwerksmesse.
The exhibition, "Jewelry All Along the Line," illustrated how, from the origins of jewelry—a line, for example, a cord, braided ribbon, or string—a wealth of variants emerged.
Artist list
Volker Atrops, Yiftah Avrahami, Alexandra Bahlmann, David Basok, Sofia Beilharz, Margherita Berselli, Doris Betz, David Bielander, Iris Bodemer, Helen Britton, Caroline Broadhead, Giovanni Corvaja, Martina Dempf, Susi Heuberger, Mirjam Hiller, Mari Ishikawa, Margit Jäschke, Steven KP, Sokoi Lamaj, Andrew Lamb, Typhaine Le Monnier, Florence Lehmann, Carolina Lutz, Andrea MAXA Halmschlager, Stefano Marchetti, Jasmin Matzakow, Oliver Meinicke, Khanya Mthethwa, Monica Nabyal, Erico Nagai, Kazumi Nagano, Farieda Nazier, Misaki Nomoto, John Parkes, Sònia Pibernat, Alessandra Pizzini, Annelies Planteydt, Mandy Rasch, Carla Riccoboni, Nicola Riess, Jacqueline Ryan, Bernhard Röck, Barbara Schrobenhauser, Juliane Schölss, Peter Skubic, Yuxi Sun, Kathrin Sättele, Ketli Tiitsar, nelly Van Oost, Marian Vanhaeren, Lisa Waup, Sibylle Wolf, Heather Woof, Pei Wu, Kun Zhang
Where does jewellery begin? The current exhibition shows how the origins of jewellery—a string—developed into a wide variety of meanings and forms that are still valid today. The use of a string is virtually the zero point of our jewellery culture and can be scientifically proven in archaeological finds. Since these beginnings in South Africa around 75,000 years ago, the use of the cord has branched out into a variety that spans cultures and times and still shapes our understanding of jewellery as wearers today, as well as shaping jewellery creation as a design theme.
We illuminate this convergence here—the global consensus—the use of a cord as jewellery. From Stone Age tools for cord production in Blaubeuren around 35,000 years ago and their use for necklaces with prehistoric beads to contemporary interpretations by international jewellery artists. The evidence of string as a jewellery object in Stone Age cultures is undoubtedly fascinating. Even more fascinating, however, is the fact that it is still used today.
Cord made from various materials
To this day, international jewellery artists examine various materials with regard to their quality for processing them into cords. The material aesthetics are appealing, but there are often important concerns behind them, such as the cultural heritage of a region, one's own origins, or the preservation of creation. Worn on the body, this cord becomes jewellery. Suddenly, the cord shifts our gaze from its aesthetic appeal to a relevant position in social discourse. Those who are aware of the symbolic classification can no longer separate the symbolic meaning from the cord, i.e. can no longer separate the idea from the object.
A connection between us
By wearing a string, you can not only make yourself and your imaginary world a theme. You can also use the string to show a connection that can be perceived by everyone. Either very concretely, by connecting yourself to a third thing, e.g. stringing a pendant and wearing it around your neck. In a figurative form, the cord may represent a spiritual connection with something invisible or with other people. Some people speak of a red thread that runs through their lives, which, although in red signal colour, is also only thought and traces our leitmotif, our turning points, and motivations for important decisions. Our emotional connections may only take place in our heads, but they carry us through life. Family ties and friendships with people accompany us on our journey, strengthen us, motivate us, and keep us going. We bear witness to them in our jewellery.
Between drawing and calligraphy
A line has a starting point, actively takes a direction, starts moving, and comes to an end. It is also a dynamic process in terms of language and gesture: we draw a line from ourselves and our body, away from ourselves and towards our surroundings, with which we connect. Depending on the tool used, this line can be sketchy with a pen or calligraphic with a brush, for example. Translated into another material, the line moves from paper up into volume, lifted into the third dimension.
The cord for rituals
A string could be infinite if we found infinite material or extended it in our minds until it goes beyond our imagination. In many spiritual values, we are a small part of a line, a link in a tradition and a larger context that leads from our past into the future and beyond. This is visualised by wearing a cord on the body that is used for different spiritual practices and rules.
No matter how different our ideas mentioned above are, they are all connected by a refreshingly clear visualisation: a simple string on the body. But again, can we not see the string as a common ground, as an element connecting our cultures? Couldn't we use the string as a starting point to recognise further similarities and connections between us all?
/ Barbara Schmidt, Leiterin der Kulturabteilung der Handwerkskammer für München und Oberbayern München 2024
New Contemporaries: Catalogue Essay 2024 Royal Scottish Academy, Edinburgh
Get PDFOur 2022 and 2023 Fine Art graduates of The Glasgow School of Art are part of a global cohort whose studies were impacted by the pandemic lockdowns. With the Art School studios, workshops, and lecture theatres dimmed, computer screens illuminated our virtual contact zones. Our social dynamics ‘pivoted’, (in the ubiquitous parlance of the day), as our sensorial exchanges became socially distanced. Connections could be as intermittent as the broadband we relied on. We persisted, so that together we could avoid feeling like another fungible face cascading from one Zoom meeting to another. This uniquely formative time for our graduates cannot be understated. Neither can the period of readjustment and reinsertion into the physical spaces of the Art School when our on-screen representations were gradually transposed to within touching distance once more
Are we contributing to a benign Anthroposystem in our Cities?
Get PDFIn response to rapid urbanisation, climate change, and growing social inequalities, the United Nations Economic Commission for Europe (UNECE) Committee on Urban Development, Housing and Land-Management, its subsidiary bodies and its network of Geneva UN Charter Centres of Excellence focus on sustainable urban development and housing policies. Guided by the 2030 Agenda for Sustainable Development and its Sustainable Development Goals (SDGs), these initiatives are aimed at aligning urban policies and practices with global sustainability objectives, promoting resilience in housing and infrastructure, fostering social inclusion, enhancing data-driven urban governance, addressing climate change impacts, and strengthening international cooperation among cities. This collection of papers have been prepared by various UNECE Centres of Excellence, and documents research and activities being undertaken by the Centres to address these challenges.
In Chapter I, the report from the Centre of Excellence on Smart Sustainable Cities at The Glasgow School of Art, United Kingdom, explores how cities can address the challenges of the Anthropocene—an era where human activities significantly alter the planet. It reflects on progress made towards Agenda 2030 and the SDGs, highlighting the need for systemic approaches in urban planning to ensure cities remain resilient and sustainable as we enter the second half of the 2030 timeline
Chaos, Clocks, and Watermelons Pt 1
Get PDFThis is part one of an essay on the influence of archeology, anthropology and folklore studies on contemporary folk music in the UK and the USA. Part 1 looks at the music of Milkweed
Guidelines
No full textThe Exhibition Catalogue text ‘Guidelines’ is centered around Sophie Taeuber-Arps two texts on developing patterns/textile designs: ‘Remarks on Instruction in Ornamental Design’ from 1922 and ‘Guidelines for Drawing Instruction in the Textile Professions’ is from 1927.
The text reflects the process of carried out Taeuber-Arp instructions on designing patterns