Monthly Archives: September 2017

CALL FOR ENTRIES | Difference Goes Speed Dating

Fancy a date with difference?

 

Difference Goes Speed Dating will be hosting a series of encounters between artists, students, academics and industry specialists engaged in lens-based media practices.

Using speed dating as a format, sixteen lucky participants will be joined by four invited artists to form randomised pairs and explore the ways they deal with the concept of difference in their practice. The aim is to survey and to attempt to tackle the issues surrounding difference, which include (and are not limited to) visual and non-visual representations of race, gender, sexuality, class, language, power and desire.

The resulting encounters will culminate in a public symposium, hosted by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme and held at Chelsea College of Arts in February 2018. Matched-up participants will present their findings and form further discussions exploring current and alternative ways of picturing difference in contemporary lens-based practices and beyond.

Given the political climate nationally and transnationally, understanding difference and challenging stereotypical perceptions around identity have become imperative. Difference Goes Speed Dating follows on from Professor Robert Storr’s rallying call to action, that “theory has its moment, but there is a time for empirical work” (TrAIN Open lecture, November 2016). This event invites dialogue between artists in creating a visual toolkit for tackling difference, in all its manifestations.

To apply to be a dater, whether student, academic, artist, or industry specialist, please complete this quick online form by Monday 30 October 2017: http://arts.ac.uk/speed-dating

You will be notified of the outcome on the week commencing 6th November 2017.

 

Speed Dating

17.00 20.00 | 29 November 2017

Red Room, Chelsea College of Arts, London

 


Symposium

10.00 – 18.00 | 23 February 2018

Banqueting Hall, Chelsea College of Arts, London

For more information about the workshop please contact Dr Ope Lori: [email protected]

Presented by Camberwell, Chelsea, Wimbledon Graduate School Public Programme.

Ope Lori

This event has been curated by Dr Ope Lori. She is a lens-based artist primarily working with moving-image, interested in the politics of looking practices, race, gender and representation. She has exhibited nationally and internationally and is currently completing a book on encountering difference through the lens. Dr Ope Lori is a TrAIN Post-Doctoral Research Fellow and BA Fine Art Associate Lecturer at Chelsea College of Arts and Lecturer at Leeds Arts University.

Image: Ope Lori, Alpha and Beta (2015). © Ope Lori.

Call For Papers | VISUAL PEDAGOGIES | London 2018

5th Biennial Conference of the

International Association for Visual Culture

September 13 – 15, 2018

UCL Institute of Education

Confirmed Participants:

Jill Casid (University of Wisconsin-Madison, Keynote); Teresa Cisneros (The Showroom); Inés Dussel (Cinvestav, Mexico, Keynote); Joanne Morra (Central Saint Martins); Griselda Pollock (University of Leeds, Keynote); Amanda du Preez (University of Pretoria); Emily Pringle (Tate); Will Strong (Calvert 22); Sofia Victorino  (Whitechapel Gallery)

Can we teach what we see? Can we see what we teach? How is the world changed, reaffirmed, or progressed through the visual? How does it slip back? What impact can thoughtful uses of images in teaching, scholarship, artistic, and political practice have on the future, as well as on the telling of history?

How can we as scholars, practitioners, educators, and concerned citizens of the world see ourselves as teachers of and through the visual, whatever our context?

The International Association for Visual Culture welcomes papers and creative proposals that address the issues of visual pedagogies from different starting points that include but are not limited to:

The visual as a tool for teaching: i.e., teaching through showing, uses of interactive learning tools including Digital Humanities, using the classroom as a space for community involvement or public-facing projects;

Visual pedagogies as a political tool: from the protest image to leveraging an image as a tool for “militant research”;

The teaching of Visual Culture Studies: academia and visual culture, teaching and inventing diverging new methodologies in teaching the significance of visual literacy across disciplines, including the critical consumption and production of images;

Thinking through ways to “decolonize the classroom” in changes in course structure, assigned texts, and assessment;

Different challenges posed across visual media, both historically and in terms of the media themselves: film versus photography; prints versus text; digital versus postdigital;

Interrogating racism, gender and sexual discrimination, ableism, and religious, and ethnic persecution through visual pedagogies;

The significance of the visual in a world where “alternative facts” and “post-truth” discourse is infiltrating public discourse and threatening democracy;

The visual as a scientific instrument: We welcome proposals that tackle the questions of various scientific approaches to visual pedagogies;

Emancipation and the pedagogy of the visual: breaking the ‘all seeing eye,’ including both challenging the truth of the image, and introducing non-ocular-centrism to fields like Visual Culture Studies, Art History, Film Studies, artistic practice, and political engagement.

To submit…

Papers and artistic or live (including interactive) contributions that engage the question of the visual in teaching through a historical lens are also very welcome. Our aim is to use the conference as a platform to discuss not only the pressing issues of the contemporary, but the legacies of visual pedagogies, including how people have leveraged images to teach people “how to see the world” for centuries.

Submission: Proposals should be 250 – 500 words in length and may include supplementary material (i.e., images, videos, links). Please also include an abbreviated CV and/or a link to a professional website.

Please direct all submissions in PDF format to [email protected] by the November 30, 2017 deadline.

Organization: The conference will be organized around a series of keynote speakers, and core thematic panels with breakout sessions. We will assign the core themes based on proposals. We invite anyone interested especially in organizing a “teaching session” (i.e., a demonstration, group activity, etc.) to specify this in their proposal.

Support for speakers and contributors: The IAVC will charge a sliding scale fee for conference attendance. These details will be posted on our website in early 2018. We hope to be able to offer assistance to speakers and contributors who can demonstrate financial need.

Timeline: We will be reviewing submissions in late 2017. We expect a large pool of applications and plan to send our responses to the CFP in February 2018.

Homecoming

If someone told you time traveling was a possibility.

If someone told you they have done it on many occasions.

You would laugh at them, wouldn’t you?

That’s what she had said.

I go over these words in my head

now that I am sitting in the empty hotel room.

I go over these words and I think to myself: can it be true?

The ashtray still containing the ends of the cigarettes she smoked.

It’s not at all how you imagine it.

It’s not at all how you imagine it.

 

Image: Carrick Bell ‘Willing to Die’ 2016, video still

Text:  Hannes Ribarits ‘Ashtray’, 2017, acrylic and spray-paint on canvas (170cm x 170cm)

Opening reception: Tuesday 3 October, 5-8pm

Exhibition runs 4-6 October, 12-6pm

 

An exhibition of works by Carrick Bell (US/DE) and Hannes Ribarits (AT/DE) including immersive installations, paintings, moving image and murals. Curated by Emma Gradin.

 

Triangle Space

Chelsea College of Arts

16 John Islip St, London SW1P 4JU

 

Carrick Bell (b. 1981, Anchorage, AK) received his MFA from SAIC in 2008, and a BA from Hampshire College in 2004. Residencies include Ox-Bow (2009), the Wassaic Project (2016) and NARS Foundation (2017). Recent exhibitions include at Kunsthalle Exnergasse (Vienna), Charim Gallery (Vienna), LW56 (Vienna), .hbc (Berlin), Brooklyn Pavillion of the Shanghai Biennale, and BAM (Brooklyn Academy of Music). He is also co-founder and co-director of Berlin-based artist run space HORSEANDPONY Fine Arts.

Hannes Ribarits is a Berlin based artist who graduated from Central Saint Martins College, London and the University of Applied Arts, Vienna. His work has been exhibited or screened in venues such as Northern Gallery for Contemporary Art (Sunderland), HEDAH (Maastricht), Kunstbunker (Nuremberg), pinacoteca (Vienna), The Hayward Gallery (London), Liljevalchs Hubb (Stockholm) and he was selected for Bloomberg New Contemporaries (UK). Ribarits also organised the six-part exhibition series Room of Requirement, taking place in different locations in Berlin throughout 2014-15 and co-curated group shows at Ve.Sch (Vienna), Forgotten Bar (Berlin), HORSEANDPONY Fine Arts (Berlin) and Kunsthalle Exnergasse (with Vienna based curator Li Tasser).

Emma Gradin is an independent curator and research student at Chelsea College of Arts developing and deploying curatorial strategies founded on extended states of not-knowing and creative suspension in the current context of time-shortness and accelerated productivity/consumption.

 

 

 

Call for Papers: Beyond Myths: Ideas, Values, and Processes in Design History

Beyond Myths: Ideas, Values, and Processes in Design History
ARCOS DESIGN
Vol 10, Número 1, April 2018
Editor: João de Souza Leite

This is a call for papers for Arcos Design magazine, Volume 10, number 1, concerning the History of Design.

Arcos Design is an academic journal in design, peer-reviewed, linked to the Graduate Program in Design of the School of Design (ESDI), State University of Rio de Janeiro, Brazil.
Created in the 1990s by members of the ESDI faculty, when design post-graduate education in Brazil began, Arcos Design persists in promoting the intersection of design studies with philosophy, sociology, economics, in order to expand the understanding of the system of production and consumption of artifacts in general. The word Arcos refers not only to the historical site where ESDI is located, in downtown of Rio de Janeiro, in front of an old aqueduct of the 18th century, but also to the bridges that it intends to establish with several areas of knowledge.

After its edition was suspended for some time, the magazine was revived in digital format in the ESDI Graduate Program in Design, available at
http://www.e-publicacoes.uerj.br/index.php/arcosdesign/index.

Call for papers

We seek contributions that allow the understanding of design outside the conventional lines of historical investigation. In this sense, approaches that deal with the insertion of observed phenomena in all types of context, as long as well characterized, are of interest. In the range of questions raised by the terms “ideas, values, and processes”, it is important to articulate reflections in the historical dimension, whether in the past or in the present time, as well as investigate processes of invention and design properly located in cultural and technological geographies.

The following topics can be addressed, though not exclusively:
1.       epistemological and methodological issues about the making of history;
2.       historiographic issues facing the current challenges of design – history of
ideas, history of concepts, intellectual history, among other possibilities;
3.       relations between distinct cultural manifestations;
4.       world history versus unique stories, clearly identified with specific contexts;
5.       micro-history of design – recording and critique of culturally located
productions;
6.       macro-history in design – topics;
7.       gender issues in project practice;
8.       identity issues in project practice;
9.       particular design processes in design;
10.     historical topics in technology and design – e.g. linearity / modularity, analog /
digital.

We are grateful for the submission of contributions, which will be submitted to a peer-review process, with two evaluations. In case of a tie, a third evaluation will be requested. For the first time in the history of the publication, this edition of Arcos Design will have worldwide circulation, and therefore will be edited in English.

The size and format of contributions may vary from topical observations to the presentation of graphic or photographic documentation. The work shall be conducted at the academic level, and the academic articles formatted according to specified conventions.