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"Change is the Only Constant" Exhibition text
Full text linkArtists Gao Yujie and duo Laura Kavanaugh and Ian Birse (aka Instant Places) transform the gallery into a site for the complex interplay between technology, time-flow , sensory haptics, and human experience. Using visual and sound-based electronic media and traditional art methods, Kavanaugh and Birse explore the reflexive interflow between the body and the machine. Similarly, Gao Yujie questions the perception of time as it is interpreted and manipulated by both humans and the machine. Together the work situates our experience along an expansive continuum defined by the flux of time.
Essays were commissioned by Xiaoxuan Huang and Dr. Jessica Argo to be shown with these works.
Simultaneously dense and light, still and dynamic, refined and complex, the works embody the running concept that change is the only constant.
* This exhibition changes from time to time
Lubaina Himid and Magda Stawarska: Nets for Night and Day
Full text linkA museum show at the Modern Art Museum of Luxembourg featuring new and rarely seen works, this exhibition is the first full scale European survey presenting the collaborative artistic practice of Lubaina Himid and Magda Stawarska.
Conceived as a performance, the exhibition emerges from a decade-long dialogue between British painter Lubaina Himid (1954, Zanzibar), a leading figure of the British Black Arts Movement, and multi-disciplinary Polish artist Magda Stawarska (1976, Ruda Śląska, Poland), whose practice combines moving image, soundscapes and screen printing.
In their exhibition 'Nets for Night and Day' composed by Dr Omar Kholeif, memory unfolds as a score narrated through paintings and drawings, as well as sculpture, silkscreen printing, photography and sound installation.
Visitors find themselves on a journey aboard ships, venturing across carts, ambling into dreamscapes rendered by the artists’ and their collective imagination.
At the heart of the exhibition is a newly imagined presentation of Zanzibar (1999–2023). The nine diptychs by Himid composing this ‘series of paintings about a series of journeys’ float suspended rhythmically in space and enter in dialogue with a 38-minute sound piece conceived by Stawarska as a ‘libretto’ for the paintings. Each of them, an abstraction at first, present codified clues into Himid’s life.
Associated with sound fragments that evoke her personal history, Zanzibar reflects on the multifaceted notions of belonging, loss and memory
Kidney Exploration: A Virtual Reality Experience for Public Understanding of the Structure and Function of the Kidney
No full textKidney disease has a major impact on global health and is an important risk factor for cardiovascular disease. The main diseases affecting kidney function are diabetes and high blood pressure. People of any age can have chronic kidney disease without symptoms, but it is highly preventable and treatable. The lack of awareness of the disease and, more importantly, the lack of basic kidney knowledge can be a barrier to early intervention. There seems to be a lack of digital interactive and accessible applications to educate the public in this area, with most of the available applications being aimed at healthcare practitioners and patients with long-term illness. Digital technology is widely used due to its flexible geographical transcendence and capacity to communicate complex health information without time constraints. One such technology, Virtual Reality (VR), has been shown to enhance awareness through its immersive experience features, helping to address the lack of understanding of deeper organs of the body that cannot be observed directly.
This chapter presents research which aims to create a VR experience to increase public awareness about diabetic kidney disease, and provide an educational resource about the structure and function of the kidneys. Integrating interactivity and immersive visualisation has the potential to facilitate more active learning and increase user engagement about the diabetic kidney. This research utilises a Computerised Tomography (CT) dataset to digitally reconstruct anatomically accurate kidneys with their internal structures. It uses groundbreaking untethered technology to facilitate an immersive and interactive self-paced learning experience.
Small scale user-testing was conducted with 8 participants to assess the usability of the VR experience, and its effectiveness to support knowledge acquisition of the kidney's structure and function. On the one hand, usability was reported lower than expected but within acceptable margin, which suggested further refinements would be needed to improve the user experience. On the other hand, results were encouraging, suggesting a positive development of knowledge. These experimental results suggest, to a certain extent, that the proposed immersive experience has the potential to support improved public awareness and understanding of the structure and function of the kidney, and related pathology
What it is to stay
No full textThere She Goes, New Travel writing by women, brings together seventeen women writers – of fiction, non-fiction, and poetry – in an anthology of travel tales to inspire, encourage and empower women adventuring through the world in different ways and stages of life.
There She Goes celebrates the stories of women getting on with getting from one place to another – the grit, courage and determination of moving through the world with babies, with periods, with grief and loss, with the menopause, with magic and humour, with bodies that are ill or disabled or seen as foreign and Other. These are stories so often shared between women verbally but – despite the drama, excitement and humour they contain – are rarely printed.
This is a book offering a new perspective on what it means to be adventurous. In times where fear and worry seem so prevalent, it is a gift of courage and celebration
Threadbare
Full text linkThreadbare is a print produced for the School of Design’s SHOPPING research cluster exhibition in Edward House, Sauchiehall Street, January/February 2025. The print visually represents occupancy, vacancy and active hours for units on the north side of Sauchiehall Street between Charing Cross and Buchanan Street. In doing so, it’s possible to see how the street changes from predominantly nighttime to daytime economies from west to east, as well as revealing the significant impact which vacancy and gap sites have across this section of the street.
Textiles offer many metaphors for the built environment. Buildings are said to have a fabric and some have curtains for walls. We talk of urban fabrics and these can be worn and torn.
Part of the past fabric of Sauchiehall Street was its many department stores. Places such as Daly & Sons (a part of which now forms Edward House, the site of our exhibition) were where you’d visit to buy your textiles. But today, with its many gap sites and void units, Sauchiehall Street is wearing thin.
This project weaves Sauchiehall Street into a data-rich tartan revealing its current threadbare state
The Caseroom: 60 Years of Letterpress etc. at The Glasgow School of Art
No full textThe Glasgow School of Art’s specialised printing and typesetting facility The Caseroom, part of the GSA’s School of Design, celebrates its 60th anniversary in 2025 with an exhibition The Caseroom: 60 Years of Letterpress etc. at The Glasgow School of Art. The exhibition brings together works by current and former students as well as staff and a wide range of professional collaborators.
The Caseroom was established in 1964 by staff supported by Douglas Percy Bliss, director of The Glasgow School of Art from 1946 to 1964. His background as a wood engraver likely influenced the decision to establish a facility for traditional forms of printing and typography techniques. Its very name reflects this historical link, drawn from a printer’s term dating back to the nineteenth century, the word Caseroom is taken from the drawers, known as ‘cases’, in which the individual typesetting letters were kept.
The Caseroom provides areas of expertise delivered to both students and external arts organisations and individuals; a focus on letterpress printing, which involves using raised metal or wooden type to create impressions on paper; various relief printing techniques, including lino cutting, polymer plate printing, bookbinding and experimental book design, large format printing, traditional hand printing methods such as woodcut printing, risograph printing and ersatz print ephemera like typewriters, stencil cutters and badge-making equipment.
For the students of the GSA, The Caseroom staff encourage and invite curiosity, inspiring iterative ways of working through experimentation – working towards new concepts through combining analogue and digital technologies. This playful process, supported by the knowledge and skills of The Caseroom team, allows new forms of individual creativity to be achieved.
Over the last 20 years The Caseroom has re-emerged as a developing space for design enquiry under staff Edwin Pickstone and Ruth Kirkby (both of whom entered the GSA as undergraduates and were gradually drawn to the innovative and historic space). They have collaborated on projects with a vast diversity of students, artists, writers, musicians, publishers and record labels including the novelist Louise Welsh, the seminal musician and artist Brian Eno, Scottish writer and artist Alasdair Gray (collaborating on the creation of Gray’s own typeface), Edinburgh’s Canongate Books, the visual artists Claire Barclay and Ciara Phillips, UK record labels Domino and Warp, influential Scottish indie band The Pastels, and the internationally renowned club night Optimo, to name but a small selection.
Video article from The Scotsman:
https://www.dailymotion.com/video/x9dqvb
Woodblock Printed Bio-sensors, SOIL, Somerset House, London
No full textDisplay of experimental Woodblock Bio-sensors shown in the exhibition Soil at Somerset House, London
Exhibition Caption Text:
This joint, interdisciplinary research project conducted between the University of Strathclyde, The Glasgow School of Art and Kenyatta University, Nairobi, is working to create a low-cost, biodegradable soil sensor which can be made and used anywhere in the world. Conductive ink is made using ubiquitous materials such as egg, charcoal and seed oils, and printed with a hand-cut woodblock in the shape of a simple electrode, onto scrap or recycled paper. Soil samples are placed onto the paper, which has been treated with an enzyme which sensitises it to the concentration of a target nutritional element (such as phosphates or nitrates) in the soil. A potentiometer is then used to measure the level of resistance in the electrical circuit which gives the user a measure of the nutritional element in their soil.
Artist Statement
The ability to understand and measure key environmental parameters is important, but often relies on expensive, laboratory infrastructure, making it inaccessible to smallholder farmers with low incomes. In this project we have been exploring whether woodblock printing can be used to create electrochemical sensors that could be used in real time at the point of need. The project Towards Low Cost Soil Fertility Sensor Systems for Smallholder Food Security in Kenya is funded by an award from the EPSRC and was developed with the support of NERC seed funding.
SOIL: The World at our Feet,
23 Jan – 13 Apr 2025
This groundbreaking exhibition unites visionary artists and thinkers from around the world to explore the remarkable power and potential of soil. Through a range of artworks, artefacts and innovative approaches, visitors are invited to reconsider the crucial role soil plays in our planet's health. The exhibition delivers a message of hope and urgency, encouraging a more sustainable, harmonious relationship with the Earth—if we choose to act now.
Soil is more than dirt. Soil is a secret world at our feet, an ecosystem as diverse in life as our night sky is full of stars. The billions of bacteria contained in its rhizospheres do for plants what the microbes in our stomachs do for us: sustain life. Our relationship with soil is our connection to Earth itself. Without soil, there is no us.
Our exhibition brings together a range of stories and responses to soil from a group of global artists, writers, musicians and scientists. Combining sensory artworks, historical objects, scientific artefacts and documentary evidence, the exhibition sets out to inspire and educate visitors about the power and the fragility of soil, its fundamental role in human civilisation and its remarkable potential to heal our planet
Acts of Making / Acts of Transgression II
No full textThis paper was presented on 'Delightful Fun' Conference, The Glasgow School of Art, Grace & Clark Fyfe Gallery and Bourdon Lecture Theatre, 3 December 2024 -13 December 2024
This initiative celebrates the legacy of British architect Cedric Price (1934- 2003) through a touring exhibition and associated events at several UK Schools of Architecture: RGU Aberdeen (9-31 October); ESALA, Edinburgh (11-22 November); GSA, Glasgow (December); Staffordshire University, Stoke-on-Trent (January); BCU, Birmingham (February); and London Met (March). The exhibition’s centrepiece at the MSA features an original market stall prototype from the Drawing Matter Collection, designed by Price and never previously exhibited. Alongside this prototype, a range of archival materials—including prints of original drawings, texts, ephemera, film extracts, and audio recordings—offers a glimpse into the diversity of Price’s practice and the interdisciplinary conversations that animated it.
In the spirit of Price’s Potteries Thinkbelt project, this initiative seeks to disseminate, interrogate, collect, and share knowledge on the move, thereby embodying the dynamism, expediency, and inclusiveness that characterised each of his projects. “Delightful Fun: A Cedric Price Thinkbelt for Our Times” is an invitation to think with Price on how to embrace usefulness, timeliness, and delight as key architectural values today, and how these may outline a more permeable profession that responds to current environmental and social challenges.
Acts of Making / Acts of Transgression
The paper and corresponding work thinks through Cedric Price’s vision that a ‘building can accommodate an ever-shifting brief’ and applies to contemporary events. With the recent upheaval in Ukraine and Palestine the paper thinks through the most transgressive act of making and utilizes examples from contemporary fine art practice to discuss the potential and consequence in pedagogies that aspire to follow, comment and action current events. Utilising Slavoj Zizek’s ideas on the concept of the ‘unknown unknowns’ the paper proposes that there are classifications in the creative act and the pedagogies that surround them. Frequently escaping the confines of specialism whilst also to a large extend being defined in approach and methods by them, the creative act (by definition or position – a transgressive act) can only come to it’s full potential when the plan is as loose in it’s approach as it is in its making and the last exit in a long-standing history of debates about the utility and actualization of change in society. The paper will consider current active projects that seek to change paradigms and can only succeed by themselves becoming transgressive acts by adopting qualities of anti-aesthetic and respond to the constant need of a shifting horizon of utility and a form that serves more than the intended purpose and function.
The work from the symposium was presented in the Architecure Fringe festival 202
Supporting Effective Community Engagement through Participatory Design (SEE–PD): Project Report
Full text linkSupporting Effective Community Engagement through Participatory Design (SEE-PD) is a practice-led research project led by The Glasgow School of Art’s School of Innovation and Technology. Funded by The Creative Launch Fund, the project explores how participatory design methods can enhance community engagement across Scotland’s public sector. This report documents the project’s process and outcomes, drawing together insights from collaboration with public sector organisations. It highlights the opportunities and challenges of embedding participatory design in practice and reflects on how creative methods can address issues such as time pressures, capacity constraints, consultation fatigue, and the need for greater internal alignment. The report provides evidence, case studies, and reflections intended to inform future engagement practice and inspire ongoing experimentation across the sector in Scotland, and beyond
The Digital Health & Care Innovation Centre's Co-Design Activities for a Future Digital Passport for People with Profound and Multiple Learning Disabilities
Full text linkThe Digital Health & Care Innovation Centre are working with the Fraser of Allander Institute, SCLD (Scottish Commission for People with Learning Disabilities) and PAMIS on a short project to better understand how the PAMIS digital passport could integrate with cornerstone NHS and social care electronic records in the near future. Particularly, we are focussing on potential integration with the National Digital Platform (NDP) currently being developed by NHS Education for Scotland. The NDP represents the near future of record keeping in Scotland. The DHI took a participatory design approach by supporting a group of pertinent, professional participants (including some people with lived experience from the SCLD Digital Navigator Board) to co-design a viable and preferable future version of the PAMIS Digital Passport