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Interior Life
No full textInterior Life was curated by Tim Renshaw, Mary Maclean and Bernice Donszelmann who together form ‘Outside Architecture’. The aim of this project was to argue that interior space should not be negatively defined as a retreat from the public realm. Instead, following the thought of the philosopher Peter Slotterdijk, interior space was proposed as a human need. The five artists selected by ‘Outside Architecture’ each visualized this need differently. A contention here was that interiors give rise to a multiplicity of experiences that potentially change the way we dwell in contemporary man-made space. This contention was primarily figured in relation to the materiality of contemporary interiors. Each gave attention to the effects of contemporary materials and surfaces and each considered that these forms produce new modes of sensing and immersion in a place.
The exhibition included two talks by the members of ‘Outside Architecture.
The project was supported by an Arts Council of England grant of £6,323
www.ucreative.ac.uk/gallerie
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Interior life
Get PDFThe exhibition investigated different ways artists picture or construct interior spaces and as a means through which to reflect upon the meaning of the inhabitation of the interior beyond mere physical need. Bernice Donszelmann's contribution included curatorial input, the production of three site-specific works and the exhibition publication text: ‘Interior Life’.
In a recent magazine interview the philosopher Peter Sloterdijk remarks that the human need for an interior space is a primary need. Interior Life presents new work by five artists who in different ways picture or construct interior spaces and in doing so establish a place in which to reflect upon the feeling and meaning of this need. The diversity of work in this exhibition could be said to underline the fact that any attempt at a succinct summary of this need is insufficient to contain the multiplicity of experiences and thoughts that circulate between a body and the space that operates to enclose it. Even the simple act of locating an interior may not be as simple as it seems, a point highlighted by Natasha Kidd’s painting installations where the paint that is pumped over a surface/wall literally runs away from us.
The materiality of contemporary interiors plays a central role here and finds itself reflected in various ways in many of the works exhibited. This is not least because the commodification and instrumentalization of the contemporary interior may move to eclipse or even remove time and memory from the surface of a ‘living room’ and, in effect, inhibit what might be called the deep occupation of a space. Mary Maclean’s meticulously constructed photographs dwell on this blankness but through a visualizing reverie she finds traces and anticipations of a presence on the surface of functional forms. This psychological impulse to transform a space is extended in the stage like scenes painted by Camilla Wilson. Their suggestions of intimacy are ambiguous, however. Representational devices function both to draw the viewer in and to frustrate the desire for a total possession of space.
One consequence of the critical attention given to the public realm is that interior or a private space can become negatively defined as a retreat. Like the paint walls of Kidd, Donszelmann uses materials to reanimate space and introduce an elasticity between body and space that metaphorically folds the two distinct realms into one another. The interior here is conceived responsive to the needs and movements of an occupying body rather than a fixed and static enclosure. This interdependence between bodies and space runs through the exhibition and in Tim Renshaw’s paintings for tabletops the relationship is pictured as a series of plans that fuse modular proportions designed with bodies in mind, which use Bruno Taut’s colour alphabet which sought to chart a space according to sensations
Architectural fictions: audition for a wall and passage
No full textThe exhibition investigated the place of narrative and the different registers of representation at play in the experience and understanding of architectural structures and space. The exhibition was initiated by the research group 'Outside Architecture' (Bernice Donszelmann, Tim Renshaw, Mary Maclean) with Mary Maclean as the lead curator. Bernice Donszelmann's contribution included curatorial input and the exhibition of two works
Art College and the Postcolonial Encounter: Student diversity within the 'sociality' of learning
No full textUpon entering art school all students undergo a process of adaptation that is not solely a matter of adaptation to a set environmental situation: the subject also contributes to its shaping. An art school context that is genuinely inclusive necessarily gives space for such reciprocity. The question that the chapter addresses is how a curriculum within BA Fine Art that is better aimed towards addressing contemporary debates arising from postcolonial thought, its histories and related art practices can impact upon the social and peer-oriented form of learning so vital and specific to the field of Fine Art in ways that allow for this kind of reciprocity. The chapter draws on a research project conducted in 2012-2013 on a UK-based BA Fine Art course involving both curriculum development and qualitative research. The research considered if curriculum development could operate to provide the vocabulary and relevant theoretical frameworks to open up the terrain of postcolonial thought, including ideas of hybridity and creolization within the power relations of contemporary global culture, as a ground for a discursive encounter across the entire student body, rather than approaching it as specialist territory for a few
‘Thea Djordjadze: Object to Site’
No full textPaper presented for the 'Homeless Sculpture' symposium at the Whitworth, Manchester. The paper looks at how the sculptor Thea Djordadze’s work plays out a form of internalised place production in which the sculptural work can be understood as simultaneously object and site. This reading of Djordjadze’s work was developed through Arata Isozaki's distinction between a material/constructive model of space making in the west and a spatial/performative Japanese model
Drumming order
No full textThe conference paper will look at the Francis Alys work ‘Railings’ 2004 to consider how Alys’ initiation of a bodily and acoustic relation to space can be understood as an effort toward a spatial appropriation of those surroundings. Bernice Donszelmann argues that the effect of Alys’ gestural and acoustic intervention is to produce on a micro-level a reorientation of the exterior architectural wall back toward the civic space of the city, making it face rather than rebuff Alys as the urban user of that space
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