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Common Ground
No full text'Common Ground' a book chapter within Practicing Landscape Field Guide No. 3 Landscapes of Energy and Extraction: Material Agency and Meaning. (2024) The chapter is an illustrated conversation between artists Justin Carter and Onya McCausland about their relationship to materials, agency and meaning within art practice. The conversation is an attempt to find points of difference and common ground.
Practicing Landscape Field Guide No. 3 Landscapes of Energy and Extraction: Material Agency and Meaning. (2024) 54p with colour images.
Published by Reading Landscape, The Glasgow School of Art. Ed. Susan Brind and Michael Mersinis.
ISBN 978-1-7385275-6-4 printed by J Thomson, Glasgow. Production support by Good Press, Glasgow.
The associated book launch event and reading will be happening on 14 November 2024 at GSA in the Anex Gallery (invite attached as image
Architecture can Save the World - Keynote Lecture at the Conference "Re-Energise", organised by the Architects' Climate Action Network (ACAN)
No full textDue to fossil fuel life in contemporary industrialised societies is so much more energy rich than at any time before in history, and this is is evident in our architecture. By and large energy wealth has a great boon—in general and in architecture: better hygiene, lower child mortality, higher thermal comfort. If it only did not come with the great amount of carbon release
In the book "Form Follows Fuel", to be published in 2025, we analyse embodied and operational energy under different fuel regimes. We come up with hard numbers for individual buildings. These show the vast difference between pre-fossil fuel and fossil fuel regimes, but also the difference between particular regimes based on coal or oil. will raise awareness of the scale of challenge connected to decarbonisation, particularly for architects. We also would like raise awareness of the principles of energy use in construction that have remained constant over centuries, and which we need to take into account to save the world
Landscape as archive: death, belonging and memory in the north
Get PDFThis paper performatively presents research that was undertaken at a Bronze Age cist site on the Altyre Estate in Moray by Dr Gina Wall and Archaeologist Dr Alex Hale. A cist is a stone lined grave, and inhumation within cists was a common funerary rite in the Bronze Age. This research resulted in collaborative, co-authored publication entitled Landscapes of Energy and Extraction: Landscape as Archive. The photographs presented in the Relate North exhibition were produced by Wall especially for this publication during field work at the cist site and in the National Museums of Scotland store in Edinburgh. The project explores landscape, death, belonging and memory in northern landscapes, aligning with the conference call in its focus on the ethics of belonging, the rites, and rights, of the deceased. A key question emerging from our research is the need to open dialogue with the museum sector about the reinterment of indigenous human remains at their original sites of excavation, what we have come to understand, through learning from indigenous scholars, as rematriation. Furthermore, the research asks us to consider both the usefulness and the ethics of endless accumulations of knowledge based on extractive and violent practices, both past and present
The Queer Work of Photography / La fotografía como trabajo queer
Get PDFThis feature essay departs from my work with archives of queer photography, which has focused on a network of photographers associated with the lesbian magazine On Our Backs, published in San Francisco from 1984 until 2006. This work – their photography, mine and others’ research – is often devalued, representing too queer, too femininsed, and too poor, a history of photographic practice despite the pocket of visibility that some queer artists enjoy at present. In this essay I make an argument that this work can be thought of as a kind of queer labour. The sense that queer photography lends itself to thinking about in terms of labour connects it to the history of photography in general, which has tended to have more commercial and industrial applications than it has art world appearances. Throughout the essay, I draw on the work of various photographers including Honey Lee Cottrell, Leon Mostovoy, Phyllis Christopher, Janina Sabaliauskaitė and Rene Matić, to conceptualise the idea of the queer work of photography
Anything Goes Part 1
Get PDFAn article on the few published recordings of Eleanor Kane Neary. A pianist in the mid-1930s in Chicago, Neary transformed Irish traditional music through the performance of one track. Her technique also provided a fresh model for the use of the piano in Irish music. The context in which the track was recorded is of great interest for the history of Irish-American music and provides a vital backdrop for her classic performance
A Fragile Correspondence - Scotland + Venice at the V&A Dundee
No full textHighlighting cultures and languages that have a close affinity with the landscapes of Scotland, A Fragile Correspondence investigates alternative perspectives and new approaches to the challenges of the worldwide climate emergency.
The exhibition initially represented Scotland’s at the 2023 Venice Architecture Biennale, The Laboratory of the Future. The re-staging of the exhibition at the V&A Dundee is the first time the complete exhibition has been shown in the UK. Curated by the Architecture Fringe, -ism magazine, and /other, the project explores how our landscapes are constantly transmitting information if we choose to see and listen. By re-establishing our dialogue with the land, how can we value exchange over extraction and equality over dominance? How can we create a more reciprocal connection with the land that sustains us?
From the forests around Loch Ness, the seashore of the Orkney archipelago and the industrialized remnants of the Ravenscraig steelworks, the project takes us on a journey through three Scottish landscapes; the Highlands, Islands and Lowlands.
The curatorial team was commissioned by the Scotland + Venice Partnership, and the exhibition ran 20 May - 26 November 2023 at Docks Cantieri Cucchini, Venice, Ital
Creatures of the deep
No full textA series of klecksographic images were made during a residency at Cove Park. These prints were made using ink composed of rust from the security fence at Coulport nuclear weapons base mixed with oak gall from neighbouring Peaton Glen Wood (a temporary peace camp). Work was installed in the Jacobs Building at Cove Park for an open studio and dinner event.
The work explores and challenges the binary notion of nature and culture, suggesting a more nuanced, complex and fluid possibility of environmental elements being brought together and co-existing
Shielin-bough: Building Collaboration Across the North
Get PDFOur article explores inter-cultural and interdisciplinary collaboration between the Glasgow School of Art in Scotland and the University of Lapland in Finland. We focus on developing sustainable practices in Arctic art education and enhancing understanding of the challenges faced by Arctic regions and northern residents, including the loss of traditional ways of life, climate change impacts and cultural shifts. We leverage art education to connect diverse cultures and to innovate within Arctic traditions, offering a creative platform in higher education collaboration. This article articulates the relevance of transcending geographical, disciplinary, cultural, and temporal borders for cultural preservation and environmental awareness. In the article, we introduce the Shielin-Bough project, dividing it into four phases: research, co-design, implementation, and reflection. In the local activities, student research, and fieldwork, we focus on traditional shelters, storytelling, and intangible heritage of food.
In the first phase of the article, we view interpretations of cultural traditions and aspects of community life in Finland and Scotland, drawing inspiration from two traditional shelters: the Finnish laavu and the Scottish shieling. In the second phase, we focus on the co-design workshop at The Glasgow School of Art’s Highlands & Islands campus, utilizing the Miro board which served as a collaborative online platform for dialog between architecture, art education, and design students from Scotland, Finland, and China. In the third phase we present the practical field school where the designed artifact – the combination of the traditional shelters – and related decorations were constructed in a new context, highlighting the project’s cross-border nature and sustainable living practices.
Our results highlight the potential of cross-border collaboration in Arctic art education to create meaningful connections and sustainable practices by demonstrating innovative ways to integrate the traditional and the contemporary. The blending of cultural aspects gives the project a unique significance, as it introduces something novel to the Scottish landscape. The constructed artefact was recognised for its inclusive approach, suggesting a sense of community and collective involvement and benefit, enhancing the landscape for everyone, not just those directly using it
GRIEF (for Sinéad)
No full textA vocal performance at the Reid Lecture Theatre for the Queer Materialities Live event on 14th March 2024. A vocal lament and queer exhumation of the song ‘Tiny Grief’ by Sinéad O'Connor accompanied by drone sounds recorded from basement extractor noises in SoFA's Stow Building.
'Queer Materialities Live' featured live performances, short screenings, readings, singing, discussions, and artworks that approach the lecture theatre as exhibition space. The Queer Materialities Research Network foregrounds artistic research through practice in all its pluralities. It is an inclusive group that welcomes those that identify as queer alongside those that do not, but engage in queer methods of making. Queer Materialities Live! mobilises notions of queer across the grammatical spectrum as verb (to queer); as noun (the queer) and as adjective (the great queering). It seeks to actualise and question queer community through presentation, response, liveness and sensory experimentation
Performance 'Burnout' at 'Between any two possibilities there is darkness'
No full textReimagined performance of 'Burnout' as part of Lux Scotland's Intentional Pauses (and Unforeseen Gaps) Season 1.
Hannan Jones and Miriam Mallalieu present a screening event 'Between any two possibilities there is darkness' with a special performance by Michelle Hannah at DCA Dundee. As part of this programme, a workshop ‘That the Sunset Is A Lie’ will take place at DCA prior to the screening.
In this screening, moments in history are revisited and revealed, narratives are fractured and pieced together and structures of how things might be understood are challenged. Films have been selected for their uncertainty, introducing unease into what was presumed, what has been said and how things might have unfolded.
Programme:
Basim Magdy, Maha Maamoun, Jumana Manna, Mohamed Bourouissa, Michelle Hannah, Miko Revereza, Noor Abuarafah, Gelare Khoshgozaran,
‘Intentional Pauses (and Unforeseen Gaps)’ offers emerging artists an opportunity to programme screenings and events as a way to explore and interrogate new ideas in a collaborative and supportive environment. Contextualising concerns within their practices alongside another artist-programmer, the programme will present works by local and international artists to audiences across Scotland. The programme has been supported by programming training sessions by artists Emmie McLuskey and Morgan Quaintance