Monthly Archives: November 2014

Sam Hopkins: Leading Global Thinker of 2014

CCW PhD student Sam Hopkins was nominated as a Global Thinker of 2014 and awarded on 17 November 2014. Hopkins is researching counter-narratives of identity, with a specific focus on how identity is rendered in the History Gallery of the Nairobi Museum. Nominated by Foreign Policy, the award is given annually. ‘Each year [we identify] the top 100 Leading Global Thinkers- and though there are 100 slots, it’s worth noting that, in some cases, there’s more than one person to an entry. That is to say, sometimes big thinking requires a team, rather than just one individual; in other cases, we have paired people who might be strangers, but who share a common mission that we’ve identified as a notable trend. Thus, a total of 131 people populate this year’s list.’

Hopkins was surprised to receive his nomination. ‘About 6 weeks ago I was just about to shut my computer down on a Friday evening, when I received an email informing me that I had been selected as one of the “Leading Global Thinkers of 2014” for “my work”. That was it, no real clue as to what part of my work, or why I had been selected. Naturally I thought it was spam, closed down my computer and forgot about all it. By Monday, I realised that it was not spam, that the nomination was genuine, and had been made by the magazine Foreign Policy, based in Washington DC. It appeared that I had been nominated for Deconstructing Western Aid to Africa. A grand claim, which I should perhaps explain.

I am an artist, based in Nairobi and over the past 10 years I have been developing a practice that explores strategies of participation to develop counter-narratives of identity. What does that mean? Basically, I am interested in how, in Kenya, specific media produce specific narratives, and how these official narratives can be questioned and destabilised. A specific example of one of these narratives is the representation of Africa within the discourse of “Development” and “Aid” as a space of suffering, need and charity; what my friend and colleague Alexander Nikolic termed the “NGO aesthetic”. But how do you approach such a massive issue without being banal?

My approach is to try to be specific, and one of the ways I explored this idea is to look at the logos of Non Governmental Organisations (NGOs) and Aid Agencies working in Kenya. The logos seemed to distil and make clearly visible the ideology, expectations and prejudice behind the Developmental Aid project. My strategy was to mix real and fake logos in an installation of 24 screen-printings, the idea being that, not knowing which is genuine and which is fictitious, you re-examine all of them. Suspended in a limbo of authenticity you the way in which the logos construct a specific image of Kenya becomes clearly visible. The work was shown at Dak’art 2014, this years Dakar Biennale, and hence it came to the attention of Foreign Policy magazine when they were selecting their list of Global Thinkers of 2014.’

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Logos of Non Profit Organisations working in Kenya (some of which are imaginary) : installation, silk screen, 80 x 230 x 5 cm each [6 of 24], 2010, ongoing, © Sam Hopkins

Featured image by Dakota Fine/Foreign Policy Magazine

David A Bailey, Robert Storr and Curating Diasporas

On Thursday 27 November, CCW Graduate School will host On Interpretation: panel discussion with Robert Storr, Bernd Behr, Rebecca Heald. This panel discussion will explore the relationship between the exhibition maker and the interpretation of the artist’s work, especially in the context of the Venice Biennale. In the past Professor Storr has spoken about how contemporary art deals with complex form and content that includes visual qualities, ways of making meaning, thinking capacities, personal and public interests, and the need to communicate with others.  He has also suggested that these are characteristics of contemporary artists whose artworks adumbrate a set of coordinates that may be extended far beyond the confines of exhibition but will reliably gauge such qualities wherever they are found. Concluding that past practices of defining art by identifying common trends that categorize art and artists according to historical styles, groups, hierarchies, or ‘isms’, is no longer viable. The tendency to divide art into genres of old-new, objects-ideas, forms-contexts, or insider-outsider, has limited utility today as a way to consider what artists do and how we might benefit. Suggesting, that there is a need to identify how contemporary art practice might be conceptualized as a human and cultural phenomenon that addresses present day issues that have personal and public relevance. Professor Storr will re-visit these ideas in his talk and in addition discuss his participation in the 2007 Venice Biennale.

The event was proposed by and will be chaired by CCW Visiting Professor, David A Bailey MBE. He is a photographer, writer, curator, lecturer and cultural facilitator who lives and works in London. Bailey’s practice is focused on the issues around the question of  representation in the areas of photography, performance and artists’ film. These interests have informed his appointment as an adviser, and subsequent curator with Autograph (ABP) and the Institute of International Visual Arts (Iniva) in 1994. One of his main concerns is the notion of diaspora in art. He co-curated the groundbreaking exhibitions Rhapsodies in Black: Art of the Harlem Renaissance with Richard J Powell at the Hayward Gallery in London in 1997, and Back to Black: Art, Cinema and the Racial Imaginary with Petrine Archer-Straw and Richard J Powell at Whitechapel Art Gallery in London in 2005. Bailey has written extensively about visual art and performance. From 1996 to 2002, he was Co-Director of the African and Asian Visual Artists Archive (AAVAA) at the University of East London. From 2005 to 2009, he was Senior Curator of Autograph (ABP), and from 2005 to 2011 he was a Curator at Platform for the Remember Saro-Wiwa Living Memorial. Since 2006, he has been the founder and Director of the International Curators Forum (ICF), and between 2009 and 2010, he was the Acting Director of the National Art Gallery of the Bahamas in Nassau. Bailey was awarded an MBE in the Queen’s Birthday Honours List 2007 for services to art.

Under his Visiting Professorship, Bailey and ICF have undertaken Curating Diasporas with UAL. Speaking about the project, Bailey said it was ‘conceived as an ambitious collaborative international network initiative between three UK visual arts groups of researchers: the ICF International Curators Forum, UAL and  the V&A. Together in network partnership with the Sharjah Art Foundation & Biennial in UAE, the Barbados Community College Black Diaspora Visual Arts in the Caribbean and SUUM in South Korea, we will investigate as an international network how emergent cultural diasporas have impacted the curatorship of contemporary visual arts specifically, and how new models of contemporary curating have developed as a consequence of these effects. The project will demonstrate how curatorial practice has been radically transformed by the diasporas of people, intellectuals, artists, and cultural workers over the last twenty years.

More than any other field of enquiry, contemporary art curatorship has felt the impact of diasporas. Since the late 1980s, contemporary curating has moved from being primarily associated with museum and exhibition display to a practice understood as the organization, framing and circulation of ideas around global cultural production, its mediation and its dissemination. During this time, the world has experienced an increased movement of languages, cultures and identities. For intellectual and cultural diasporas from diverse origins and disciplines, a new kind of curatorial practice has attempted to represent these changes by creating what Ute Meta Bauer has called “a space of refuge – an in-between space of transition and of diasporic passage” for cultural workers across the world.

During the past two decades there has not only been a proliferation of large-scale global exhibitions, but an exponential rise in trans-national curatorial projects taking diaspora as both their main focus and dominant theme. Since 1989, all large-scale global exhibitions in some way or another, from the first truly global exhibition Les Magiciens de la Terre (1989) to Documenta 11 (2002), to the 11th International Istanbul Biennial (2009) have all engaged with and contributed to a widening of the issues as to how to present diverse cultural diasporas, and how their accompanying new networks of cultural co-operation have contributed to post-colonial models of curatorial practice that have explored beyond previously-established Western centres of artistic production.

Whereas increased global mobilities, displacement, and the vast emigration of cultural producers has had a profound effect on contemporary art and curatorial practice, focused research has not been conducted on the impact of these developments. Similarly, little attempt has been made to understand how curatorial practice has been influenced by cross-cultural diasporas or how the emergence of a more globalised art world has taken account of these new networks, flows and their dispersal, which increasinlyg operate at an international, trans-national, multi-national and global level, with the local and global in constant dialogue with one another.

As a collaborative international network team of researchers, educators, theorists, curators and writers established within the field of visual arts curating, we will develop an integrated three-year research programme that builds upon their expansive existing international networks, cultural partnerships and expertise. The project will establish new knowledge in the relationship between the study of cultural diasporas and contemporary curating, which will be made possible by a three-year programme of focused public events to be held in the UK, the Middle East, South Korea and the Caribbean between 2014 and 2017. These will be developed in partnership with significant cultural organisations in each of the outlined locales. All of the proceedings from these events and the research outcomes will be disseminated through a dedicated website and a major publication in the final year. We aim to generate an increased understanding and critical appreciation of the role of specific cultural diasporas at these locations and internationally, and to demonstrate their major impact on contemporary curatorial practice and its accompanying discourses during a period of accelerated change across the world.

Under the rubric of Curating Diasporas, the international network collaborative research team will look at how, over the past two decades, emerging cultural diasporas in specific geographical areas have influenced methods of cultural production and, how these diasporas have played a key role in redefining what constitutes global curating more generally. The overall objective of Curating Diasporas international network will be to examine “diaspora” as the defining characteristic of our current globalised curatorial practice, its reception and its attendant discourses.’

In-between Dissimilation and Assimilation: Artistic Responses to Post-colonial Issues of Internal Ethnic Others in East Asia and the Commonwealth

CCW PhD student Hiroki Yamamoto presented his paper ‘In-between Dissimilation and Assimilation: Artistic Responses to Post-colonial Issues of Internal Ethnic Others in East Asia and the Commonwealth’ at the 6th Global Conference: Strangers, Aliens and Foreigners, held on 1-3 November in  Prague.

His paper was a comparative study of artistic responses between East Asia and the UK to the issue of ethnic minority (for example, the black immigrants in the UK and the Korean-Japanese in Japan). In Yamamoto’s presentation he made a comparison of artistic responses to post-colonial issues of internal ethnic ‘others’ between East Asia and the Commonwealth, from after the war until the present time. East Asia is quite similar to the Commonwealth in that they are ‘imagined’ cultural unities that include a large number of unsettled post-colonial issues of internal ethnic others derived from their colonial policies in the past. On the other hand, their artistic responses to the post-colonial issues have been quite different when for example these issues are frequently treated as taboo in the realm of art in East Asia, whereas Black artists have tackled with post-colonial issues through artistic and cultural interventions in the UK. Yamamoto’s full abstract can be found on the conference website.

The conference itself sought to explore the crucial place that strangers, aliens and foreigners have for the constitution of self, communities and societies. In particular the project assessed world transformations, like phenomena we associate with the term ‘globalisation’, new forms of migration and the massive movements of people across the globe, as well as the impact they have on the conceptions we hold of self and other. The project explored and assessed a number of key core themes, including:

1. transformations of self
2. boundaries, communities and nations
3. economies, institutions and migrants
4. art and representations
5. self (inevitably) linked to other

The conference was hosted by Inter-Disciplinary.Net, an enabling resource which supports the exploration, development and publication of work that transcends traditional disciplinary boundaries. Their network is a dynamic fabric of opportunities that can be created only within an interdisciplinary framework. Inter-Disciplinary.Net is committed to inter-, multi- and trans-disciplinary pursuits and to the raising of awareness of such work.

Said Adrus – Without An Empire – Ghosts Within

Said Adrus – Without An Empire – Ghosts Within is a new exhibition curated by CCW PhD student, Maria M. Kheirkhah. Said Adrus marks the centenary of World War I at 198 Contemporary Arts and Learning by revisiting his long standing project Lost Pavilion. Said’s video installation and photographic series comes amidst a backdrop of activities commemorating the first world war and highlights the contributions and presence of Indian Muslim, Sikh and Hindu soldiers and officers, reflecting on ideas relating to Diaspora, especially South Asian Diaspora in its broader context. Said says, ‘I intend to introduce a personal element in the project as “homage” to my late father Amumiya H Adrus, who alongside countless other South Asians, were part of the British Army during the World Wars.’ The exhibtion will be open 20 November 2014 – 20 January 2015.

Through his artistic and archival research on the Muslim Burial Ground, Said continues to highlight issues around sites, memorials, war, empire and British Asian History. It is with such intention that Said captures the reflective spirit of a subject that is complex and close to the heart of many in the UK. In her poignant essay on Said Adrus’s Lost Pavilion, Dr Amna Malik wrote, ‘In the light of current events and the many lives that have been lost in distant lands, both Muslim and Christian, it seems preposterous to suggest that there is any such thing as a clash of civilisations between Islam and the West, as some intellectuals might have us believe. If we examine the microcosms of life lived by people from day to day in Britain, we see considerable evidence of connections between people of different religious and ethnic constituencies. One of the enduring legacies of the Black British Arts of the 1980s is the diverse and cosmopolitan nature of those who were part of it. This cosmopolitanism embraced “black” and white alike in recognition that race and racism was a product of imperial ideology and of power that encouraged conflict and difference by propagating dubious ideas of biological difference. This conflict is now present in a different way, as we are encouraged to adopt a neo-Orientalist view of Islam and the Middle East as imbued in a violent tradition antithetical to the West and yet, as Adrus’ project indicates Muslims and Islam have long been a part of European consciousness and vice-versa. In Lost Pavilion the collective impulse of the Black Arts movement of the 1980s continues in his attention to the collective contribution of Indian soldiers of diverse ethnic and religious constituencies, marked by the presence of these graves of Muslim soldiers that implies the absence of others who fought alongside them.’ [Excerpt from Sites- Sights of Memory and Mourning by Amna Malik]

Describing her practice, Kierkhah said, ‘The focus of my practice-led research is to investigate the “Islamo-Orientalised Female Other” as perceived historically within Western social discourses, and the extent to which this perception projects/impacts upon her voice and representation within Western contemporary visual culture today.

My thesis aims to define and articulate a subjectivity, a voice of the “Islamo-Orientalised Female Other” that is different from traditional and popular representations. I do this through my own practice  (performance, installation, video) and through various curatorial projects which aims to explore and contextualize it’s precise position in the present, through exploring in parallel the work of other artists; who come from different geographical, social, political and personal spaces. The common factor between all the various projects, whether artistically or curatorially, is to counter stereotypes and prejudice. This is to encourage questioning and knowledge to encourage a deeper understanding and awareness of the various practices which develop within different social contexts at any given time, the practice and the context being key in exploring these issues. In addressing and further researching this “gap” I propose to develop a body of visual work and an archive which seeks to counter dominant stereotypes and to suggest alternative ways of reading and engaging with the subjective space of the “oriental female other”.’

Exhibition Events:

  • 20th November 2014: Private view 6pm-9pm@ 198 Contemporary Arts and Learning
  • 3rd December 2014: 1-5pm. An afternoon of talks and presentations exploring ideas and issues raised in this exhibition. We are joined by Dr. Amna Malik, art historian and senior lecturer,Slade School of Fine Art, UCL; Ashwani Sharma, UEL and co-editor of Darkmatter Journal; Keith Piper, artist and reader in Fine Art and Digital Media, MDX University London, Said Adrus (artist) and Maria Kheirkhah (curator). This event is chaired by Professor Paul Goodwin, UAL. Location:  Lecture Theatre, Chelsea College of Art and Design 16 John Islip St, London SW1P 4JU. This event is free but please RSVP to [email protected].
  • 17th January 2015: Artist and curator’s talk and tour of the [email protected] Contemporary Arts and Learning

The Gallery is open Monday – Friday 11-5pm, as well as Saturday 20th of Janurary 2015, 11am-5pm.

Utopographies: Evaluation, Consensus and Location- binding and launch

On Tuesday 25 November at 5:30pm, Critical Practice will be launching its new publication, Utopographies: Evaluation, Consensus and Location. Please join for the collective binding and celebration of this beautiful limited-edition souvenir from the exhibition of the same name in the Green Room at Chelsea. It was created as a reminder of how Critical Practice, a self-selected group of CCW students and a collection of utopographers worked towards Evaluation, Consensus and Location in the Triangle Space at Chelsea on 24-29 March 2014.

The theme of Evaluation – was to enable Critical Practice to develop its current research strand into value and evaluative communities – Consensus as its a problematic term for utopians, and Location, as we’re all interested in being creatively estranged in time and space. Neil Cummings, CCW professor and Critical Practice member, said, ‘At a series of workshops we collaboratively developed an appropriate event space – neither exhibition, lecture, conference, workshop nor symposium space – a flexible environment to nurture creative processes. From the 24th, we installed the environment by threading kilometres of rope to create a meshwork throughout the Triangle Space. “Weavers” came, some went, and others stayed over the three days; it was surprisingly tiring, the process managed to accommodate everyone, was deeply discursive and satisfying. The two, more public ‘exhibitionary’ days were an astonishing array of presentations, screenings, Live Action Role Play (LARP), Skype discussions, interviews, live scribing, performances, talks, workshops, hacks, tournaments, walks, and confrontations. We glimpsed the future, and recovered the spirit of art schools gone by.’

Participants included:
Jill Belli, Francis Brady, Amy Butt, Nathaniel Coleman, Contemporary Land Theatre (Featuring Stephanie Dickinson and Michael Tyack), Angus Carlyle, Critical Practice, Ruth Desseault, Karel Doing, Eddie Dorrian, Open Music Archive, Hayley Jukes, Charlotte Knox-Williams, Mathilda Oosthuizen, Blanca Regina, Prof. Kazue Kobata, Adoka Niitsu, Dan Smith, Adam Stock, Sissu Tarka and many others.

The evening will include introductions from Dr Dan Smith and the Critical Practice Research Cluster from 6pm and will be followed by binding, launch and refreshments.

www.criticalpracticechelsea.org

Launch of MIRAJ 2:2 and MIRAJ 3:1

The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with CCW Graduate School at the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks. The journal is edited by CCW Professor, Catherine Elwes.

Launching MIRAJ 2:2 and 3:1 on 19 November at 5:30pm at Chelsea College of Arts,  Andrea Luka Zimmerman will screen extracts from her recent films, including the forthcoming feature essay film Estate, a Reverie which premieres at Hackney’s Rio Cinema on 22 November 2014. Filmed over seven years, Estate seeks to reveal and celebrate the resilience of residents who are profoundly overlooked by media representations and wider social responses. Interweaving intimate portraits with the residents’ own historical re-enactments and dramatised scenes, Estate, a Reverie asks how we might resist being framed exclusively through class, gender, ability or disability and through geography. The screening will be followed by an in conversation between Zimmerman and Lucy Reynolds and then a drinks reception. Booking is essential. Please reserve a place here.

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Elwes discussed the two new issues in the press release for the event. ‘We have published contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. These include pieces that offer theories of the present moment but also writings that propose historical re-readings of the standard accounts of artists’ moving image. The articles that appear in MIRAJ 2:2 and 3:1 cover a wide range of topics from medium specificity in the age of intermediality (Janine Marchessault) and the shadow (Sean Cubitt), through the meta-physics of data in the work of Semiconductor (Lilly Husbands) to in-depth discussions between practitioners such as Laura Mulvey, Chris Welsby, Elizabeth Price, John Akomfrah and Mark Lewis.

Each issue contains a themed section. In the case of 2:2, Joshua Yumibe tackled the question of illusion and abstraction in silent and experimental cinema while Jonathan Walley mined the deeper resonances of illusionism as it has been both deconstructed and exploited in experimental film and video. MIRAJ 3:1, guest edited by Erika Balsom, introduced the theme of institutions, debated by a range of curators, distributors and practitioners. Volker Patenburg examined the experience of cinema and the museum, while Enrico Camporesi considered the “archive instinct” in the work of Bill Brand.

The scholarly articles and feature articles are complemented by a reviews section edited by Colin Perry, which responds to debates circulating in publications, conferences, symposia and artists’ film and media festivals and also reviews of current exhibitions both in this country and abroad. An issue on Feminisms is in preparation as we celebrate the publication of our last two issues. We hope you will come and celebrate with us on 19th November at Chelsea.’

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Top image credit: Andrea Luka Zimmerman, Estate, a Reverie, 2014. Courtesy of the Artist.

No(w)here, An Exhibition in Intersections across Time and Space: One and Another / Now and Then

CCW PhD students Jina Lee and Keunhye Lee have gathered their ideas to explore the intersections across time and space with the title No(w)here, which can be both read as ‘now-here’ or ‘no-where’. As a means of understanding and engaging with socio-geographical timespaces, the exhibition space becomes a platform for 1) ‘now-here’, understood as current social activism Between One and Another and 2) ‘no-where’, where it can be interpreted as somewhere Between Now and Then. No(w)here will run 13 – 19 November 2014, with the private view on Thursday 13 November 2014, 6 – 9 pm. 5th Base Gallery is open 12-6pm.

Between One and Another:

Jina Lee puts the emphasis on the diasporal ethnicities to look at the relationships people create in the production of territorial borders. It is said that we are living in a world that is ‘borderless’ (Ohmae 1999) or ‘deterritorialised’ (Appadurai 1990). Beyond conventional maps, Lee’s re-drawing of and intervention into maps intends to expose and articulate the re-politicised voices of communities. She plans to make map-drawings as both a cultural and political act, which stimulate reflection and discussion with the community.

Re-territorialised map, 2014, acrylic, paper collage, pen and watercolour on tyvek paper

Between Now and Then:

Keunhye Lee has addressed how historically repetitive elements of space are understood in the contemporary design fields further future. She uses the notions of trajectories and tracing acts (de Certeau, 1984) to map repetitive activity, and to develop space designs using ‘smart’ materials that reveal patterns of daily use. Interactive and smart technologies, often used for effect, can potentially utilise the trace as a design resource, producing immediate changes in a reversible way.

Spatial Installation, Ondol, 2014, wood, plaster, ‘smart’ material and electronic device

The Olympics Drawn: designing the exhibition

David Barnett is a digital scenographer and graphic designer, as well as an academic and technician at Chelsea College of Arts on the BA Graphic Design Communication team. Collaborating with curator Dr. Joanne O’Hara, Barnett designed the exhibition The Olympics Drawn for Wimbledon Space.

‘Jo and I met to look at the design aspects of The Olympics Drawn exhibition at the end of October 2013, having been introduced by Professor Stephen Farthing. Stephen, Donald Smith and I had collaborated on the 2009 Life Room exhibition at CHELSEA space together, which combined fitness and sport along with art and design in a live studio environment. Even then, Stephen and Donald had flirted with idea of using an exhibition as a vehicle for becoming involved in the upcoming London 2012 games. We wanted to examine the relationship with the arts and Olympic values and ideas. Having been a huge fan of the 2012 Olympic design elements in the first place, I was surprised to hear about the amount of important materials Jo had gained access to. I jumped at the chance of being involved.

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Touching up a print, photo by David Barnett

Perhaps the most difficult process in an exhibition of this kind was cutting down the amount of displayed work to make a coherent story within the space we had. When the artefacts were collected as a list of files, it was clear that there was too much to show in one exhibition. To help visualise our ideas, we made a digital model of the exhibition space and added the content virtually to see what would fit. Even so, we had to reduce the size of a few items to allow the work to breath in the space as it went up. Some items, like a giant winners podium, just didn’t fit the use of the space. However others, like the Mary Poppins costume, worked well and still held their iconic appeal. Context also mattered- some drawings had been used for internal presentations or working purposes in the making of the games and so became very difficult to reprint at a higher resolution for the exhibition. After doing some tests we realised that enlarging some almost until the images broke up visually was more important than keeping them sharp – I had to break a few design rules to do this, but the effect was worth it.

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The installed exhibition, photo by Nick Manser

I utilised graphic layouts on an inkjet printing substrate called Phototex, a sticky backed, low-tac, woven material. This allows the possibility to design multiple image layouts in large-scale graphic wallpaper and to be able to peel it of the wall and reposition or reprint if changes are needed. Using a material substrate rather than a scan reprinted on white paper gave back the feeling of the original printed drawings, making them more tactile and dimensional.

Some of the architectural plans and the James Bond/Queen storyboards, for example, we decided would work best in a projected or on-screen format. Here the original sizes mattered less (in the case of the small storyboards) or the detail could be preserved to a greater extent (in the case of the very big vector schematics). In this way we were able to show multiple selections of drawn plans on a large projection, looping slideshow. This allowed moving image based materials and stills to be shown on screens where they could be seen more clearly. Importantly, the net result of having so much digital content is that the bulk of the exhibition could be reproduced at the flick of a print switch if ever required in the future.

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Printed and getting ready to mount, photo by David Barnett

 

Conversely, the physical artefacts, like original drawings and sketchbooks, needed to be displayed amongst this various media and needed a special housing and lighting. Through Stephen’s association with the Royal Academy of Arts, we borrowed some display cases, which were previously created by Billings Jackson Design. These formed the spatial core of the exhibition. They gave us an element which had to have certain positioning due to traffic flow and electrical supply, helping us shape the overall plan of the exhibition.

The usual place to start thinking about an Olympics exhibition is the design ephemera and iconic visual language of sport- lane markings, Olympic rings and colours, etc. We decided early on to let those things go and to support the work, letting it dictate the scenography of the show and only use extra design where it was needed. I would have loved to use the hundred weather balloons with gold Olympic rings dangling below, as in the opening ceremony design, but it just wasn’t needed. Instead we enjoyed the simple drama of lighting, which Wimbledon Space affords so well, and kept a healthy mix of original artefacts, reproduced drawings and screen based work in an easily understood way.’

The Olympics Drawn is at Wimbledon Space, running until 14 November 2014.

Olypmics Drawn space

The Olympics Drawn, Private View, photo by Francisco Lerios