Author Archives: Claire

Life Cycle, Continuous

Pangaea Sculptors’ Centre (PSC) was delighted to host Life Cycle, Continuous on 3 December 2015. This evening of talks and discussion considered the life cycles of artworks, alongside the legacy of their artists, exploring in particular how these things transform, evolve and transition across platforms, people, places and time.

The evening began with a few words from the organisation’s co-directors, Dr Marsha Bradfield, Visiting Scholar at CCW, and Lucy Tomlins. The life cycle of artworks, especially sculpture, is something that has preoccupied PSC since the summer of 2013, when the organisation hosted an artist talk by sculptor Richard Wilson at his Slice of Reality on the Greenwich Peninsula. Here Wilson spoke candidly about the challenges of maintaining the public artwork, a chunk of ship, after the millennial project was decommissioned. Who takes decisions about an artwork’s care after it leaves its artist’s orbit? What responsibility do artists have to how their artworks are stored, shown, conserved or disposed of? Where does the work reside? Does it reside in the work that we look at? Does it reside in the idea of the work?

Jo Melvin presenting at Life Cycle, Continuous. Photo credit: Sinead Bligh

Jo Melvin presenting at Life Cycle, Continuous. Photo credit: Sinead Bligh

These were questions that CCW Reader Dr Jo Melvin engaged in her talk, The conundrums of remaking sculptural practices and their legacies. Melvin has been investigating the interconnections between the archives of artists’, critics, museums, galleries and magazines from the 1960s to the present day since the early 90s. For Life Cycle, Continuous, she considered specific conundrums in connection with re-presenting the work of Naum Gabo, Barry Flanagan and Christine Kozlov. For instance, she referenced the exhibition of Gabo’s Kinetic Construction (Standing Wave) at MOMA in 1968. When the artwork, owned by Tate, proved too fragile to travel, the possibility of whether it might be remade in the US came to the fore. Gabo agreed on the grounds that like Kinetic’s previous iteration, the artwork should be made from materials that were ‘ready to hand’. Crucial here is the artist’s specification. For as Melvin observed, without clear instructions about what conditions must be fulfilled for an artwork to be remade or represented, ambiguity pervades. She went on to discuss the challenges of identifying what and where the artwork is with reference to Barry Flanagan’s practice and his sense that his sculptures were not based on experience of the world but rather, each work is an experience of its making. Further, discussion of Christine Kozlov’s 271 BLANK SHEETS OF PAPER CORRESPONDING TO 271 DAYS OF CONCEPTS REJECTED touched on the thorny of issue of what traces slip away, either because they are perceived as unworthy for posterity or undesirable in some way. And in the case of this particular work by Kozlov, what is most important: concept or materials? Should only the 271 blank sheets the artist selected be shown, however yellow they become with age? Would would any ‘bank sheets’ serve to gesture towards the absence of presence that her artwork explores?

The other two speakers for Life Cycle, Continuous grappled with very different concerns in their talks. Artist Anne Hardy discussed the challenges of re-presenting site specific works like those recently featured in her acclaimed exhibition FIELD at Modern Art Oxford. Artist and senior lecturer Jenny Dunseath Senior Lecturer at Bath Spa University discussed her ongoing research into the transmission of knowledge from artists to their assistants, based on her personal experience working in Anthony Caro’s studio.

Life Cycle, Continuous was part of the public programme that accompanied PSC’s 2015 artists-in-residence programme, with the talks talking place culminating exhibition, Which one of these is the non-smoking lifeboat?  This approach to hosting the talks tracks with PSC’s ongoing commitment to making the making of sculpture more visible so as to better appreciate the process of an outcomes production.

Audio documentation of Life Cycle, Continuous will be available on PSC’s website in early 2016.

Top image: Jo Melvin installing heap 3 ’67/68, 1967/68 at Cullinan Richards, London, January 2015

Looking at Past Habitats Through a Modern Lens

A collection of more than 1,400 photographic plates, rediscovered in the Natural History Museum collections, has led to an innovative artistic collaboration with Museum scientists funded by the Calouste Gulbenkian Foundation UK.

Photographed by ecologist and botanist Sir Edward James Salisbury, former director of Kew Gardens, the plates document British plants and habitats between 1910 and 1935. They are a potentially unique resource for investigating environmental change over the past century.

The Museum invited visual artist Chrystel Lebas, CCW Foundation, Time-Based Media, to collaborate with Kath Castillo, a field biologist at the Museum, to research the collection. Together they tracked down and photographed the same habitats and plant communities that Salisbury recorded almost a century ago. The project engages with environmental change, particularly in the Scottish landscape and Norfolk, creating new understandings of the artistic and scientific gaze onto the natural environment and its representation. The film documenting the research was made by Sally Weale, and was produced by the Natural History Museum. The film was released to coincide with COP21.

The research was presented at the Royal Geographical Society-International Conference of Historical Geographers 2015 in Field experiments: collaborative practices in art and environment, titled ‘The Salisbury Archive Re-Viewed: observing environmental change in British Landscape’ with Dr. Mark Spencer (Senior Curator, British and Irish Herbarium, Natural History Museum, UK).

Lebas’s conference attendance was supported by the CCW Graduate School Staff Fund.

Top image: Still, courtesy of the Natural History Museum in London

On the Matter of Books and Records

CCW PhD student Anna Gialdini recently organised a workshop entitled On the Matter of Books and Records: Forms, Substance, Forgeries, and Meanings Beyond the Lines, which took place on 23 November at the Victoria & Albert Museum. ‘I am happy to say that it was a success. The result of intense work on the part of three co-organisers (myself alongside Alessandro Silvestri, AR.C.H.I.ves Project, Birkbeck University of London, and Maria Alessandra Chessa, Royal College of Art / Victoria & Albert Museum), it brought together international speakers from diverse theoretical frameworks and professional backgrounds. Over one hundred people registered for the event, many of them students and early career researchers, and gathered in the beautiful Victoria & Albert Museum Lecture Hall to hear about recent research, discuss methodologies, and take part in a trans-disciplinary debate about the materiality of written sources and supports across time.

Danae Bafa (UCL) opened the workshop with a presentation of how papyrus was produced and consumed in ancient times, opening our eyes on the real extent of its use other then as a writing support. Jessica Berenbeim (University of Oxford) followed with an engaging discussion of how the materiality of parchment was perceived by its users in the Middle Ages: they never forgot, she argues, that parchment came from animal skins, and this aspect was in fact effectively used to communicate meaning. To conclude the session on supports, Maria Alessandra Chessa (Royal College of Art / Victoria & Albert Museum) introduced us to early modern perceptions of paper and its role in human society; its distinctive traits gave it a place in some cabinets or curiosities.

After a break, it was time for a new session entirely dedicated to bindings, both in libraries and in archives. For my paper, I collaborated with Alessandro Silvestri (AR.C.H.I.ves Project, Birkbeck University of London), and spent a few days in Sicily earlier this year to analyse archival bindings in the State Archive of Palermo. While not closely related to my PhD topic, this project is particularly important to me, as it shows the transdisciplinarity of the history of bookbinding as a field: in this case, Alessandro and I were able to show how medieval and early modern authorities and archivists interacted with the production of documents (and ultimately, history itself) continuously over time. Carlo Federici’s (Ca’ Foscari University of Venice) paper traced a story of the discipline over the last 30 years by drawing a fascinating picture of his own research and career, showing how what was once known as “archaeology of the book” has transformed from purely technical training for conservators into a discipline in its own right.

Our final session focused on forgeries. Emily Taylor (British Museum) presented an object from the British Museum she has been able to study both in its physical characteristics and its wider meanings: an intriguing “book” produced to be sold as Coptic on the 19th-century European market, by using both modern and genuine ancient objects. Alfred Hiatt (Queen Mary University of London) talked to us about the material forms that forgeries of documents took as their creators used them for their own purposes, and how the phenomenon influenced 15th century critical methods.

Ian Sansom’s (University of Warwick) final remarks offered a fascinating and inspiring overview of how he (and other writers) engaged with the materiality of paper in carrying out their work.

Each session was followed by a lively discussion with the audience, led by our chairs Nicholas Pickwoad (Ligatus, UAL), Filippo De Vivo (AR.C.H.I.ves Project, Birkbeck University of London) and Ian Sansom (University of Warwick).’ Social media documentation of the day was gathered on Storify.

Anna Gialdini is a UAL Studentship funded student with Ligatus Research Centre. She is researching Greek-style bookbindings in Renaissance Venice.

Top image: Ian Sansom presenting his final remarks (‘The Paper Museum’), photo by Anna Gialdini

Feminist Practices in Dialogue

Practice in Dialogue is a research group of feminist artists dedicated to examining the formal structures and strategies of historical feminist art alongside their own art practices. Founded in May 2014 by AHRC supported CCW PhD researcher Catherine Long in collaboration with Rose Gibbs, Practice in Dialogue evolved out of a need to create a space in which to think critically about feminist art practices. Participating artists are: Miriam Austin, Alison Ballance and Abigail Smith, Ingrid Berthon-Moine, Cécile Emmanuelle Borra, Rose Gibbs, Lora Hristova, Catherine Long, Ope Lori, Lauren Schnieder and Nicola Thomas.

Practice in Dialogue will be launching their first publication on 18 December 2015 at the ICA alongside their event Feminist Practices in Dialogue: an afternoon showing of work including video installations, performances, sound pieces and sculpture followed by We Are Anti-Capiphallism, a discussion on the challenges facing contemporary feminism chaired by Helena Rickett. Supported by the CCW Graduate School Student Initiative Fund, the publication will feature contributions by the participating artists as well as essays by Catherine Long and Rose Gibbs.

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Feminist Practices in Dialogue cover. Image credit: Alison Ballance, 2015

The group aims to create a space where artists can talk and think critically about the current challenges to feminism in a climate where the backlash against it combines with neoliberalism to reduce the political agenda of feminism to a set of fragmented rights and personal choices that neatly dovetail with capitalism. In this environment, behaviours are divorced from the gendered circumstances within which they have been generated and are recast as feminist. Here feminism becomes about infiltration of the very structures that are responsible for women’s subordination in the first place, rather than a practice that seeks to circumnavigate them and create alternatives.

The exhibition and discussion at the ICA will foreground the importance of art and feminism as lived practices that have the potential to unsettle hegemonic patriarchal structures. Avoiding the pitfalls of dominant heteronormative culture is not easy and, as such, the emphasis of the event will be on feminist art practices as an ongoing work-in-progress that calls for continual self-reflection and critical analysis. The day will explore the methods by which feminist artworks contest the status quo and resist recuperation by the dominant patriarchal system. The artworks and discussion are an invitation to gauge how the artists involved with Practice in Dialogue have responded to contemporary issues while offering the possibility for a thorough and interrogative conversation, which is essential if feminism is to retain its potency.

Catherine Long’s own doctoral research focuses on video art practice and its potential as a radical tool for deconstructing mainstream images of femininity as well as reconstructing and developing progressive representations of female subjectivities. Through re-examining critical feminist video artworks of the 1970s and 1980s, Long has been investigating the ways in which women artists have historically challenged the dominant economy of representation. The camera apparatus allowed women to control the production of their own image, articulate their subjective experiences and directly address the spectator. Underpinned by the radical principle that ‘the personal is political’, feminist art practice utilised consciousness-raising as both a formal strategy and a means of generating content in order to speak to other women and inspire political activism.

Amidst a resurgence of feminism, Long’s video practice explores how artistic strategies used in the second wave feminist era can still provoke and undermine the status quo of gender representations, proposing new possibilities of female identities. Drawing upon strategies of performance to camera, direct address and narrative, her practice explores the dialectics of representation and criticality in relation to themes of internalisation, anxiety and body image.

The publication will be on sale in the ICA’s bookshop from 18 December 2015.

Top image: Untitled Leytonstone 2005, Rose Gibbs

Somewhere In Macedonia

A screening of the film Somewhere In Macedonia, directed by CCW PhD student Alice Evans will take place on 17 December in the Banqueting Hall at Chelsea College of Arts from 5.30pm. During the event there will be two opportunities to view the film at both 6 and 7pm.

The narrative film is based on a series of letters sent home to Wales 100 years ago from Macedonia during the First World War. Each letter was headed ‘Somewhere In Macedonia’ to pass censor.

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The story introduces us to Idris, a young Welsh war poet and stretcher-bearer as he receives a letter from home. In the events that follow, we see how Idris, surviving under extreme pressure, confined to the trenches of war and repressed by the laws that forbid his sexuality, reacts to news that is to change the course of his life. Based on an archive of real letters, the film aims to show a side of history that would not have been given voice at the time.

For further details or to RSVP to attend please email: [email protected]

Director Alice Evans is pursuing a PhD, researching notions of unreliable narration alongside epistolary modes within filmmaking.

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Cast: 

  • Julian Firth – as Captain Grant
  • Iddon Jones (BAFTA Cymru) – as Idris
  • Gethin Alderman – as Bob
  • Harrison Rose – as Hywel
  • Alun Elidyr – as The Colonel

The Film:

The film was shot in the basement of a Camden housing co-op where for a week in May- the kitchen was transformed into a WWI trench. Thanks to a talented and generous team, this film could be realized on a low budget. This film is part of a larger feature project now seeking funding for development.

Screening location:

Chelsea College of Arts is a screening venue because the Royal Army Medical Corps, of which Idris would have been a member, was based at Chelsea’s Millbank site at the time when the film is set. We are using the Banqueting Hall, as this was the officer’s mess in 1916.

Some of the letters that inspired this story were sent from the RAMC at Millbank in 1916 before their author went out to Macedonia. It is appropriate then to screen the film 100 years later on this site.

SNAP 2015: International Printmaking Symposium

Between 12 and 15 November 2015 the print association Druckvereinigung Bentlage e.V. held its third International Printmaking Symposium SNAP 2015 in cooperation with the cultural institution Kloster Bentlage gGmbH in Germany and the AKI ArtEZ Institute of the Arts in the Netherlands. The two previous symposia focused on the position of contemporary printmaking between traditional methods and the digital future, and the role of printmaking in the international art world. This symposium examined questions concerning the subject Kunstraum Druckgrafik: Printmaking in Other Forms of Art. Specifically, it addressed how various modes of expression in contemporary printmaking combine or overlap with other art disciplines, such as sculpture, painting, installation, film, paper art and laser cut. It also illustrated the increasing significance of the interaction of printmaking with other areas of art in fine art educational institutions in Europe and elsewhere. From a historical viewpoint, printmaking has always been a hybrid medium that has adapted to current technology. Printing was and remains a means of spreading ideas and information, and a catalyst for social change.

CCW Professor Paul Coldwell was invited to give the keynote, called Print, making and the work of art alone. ‘My paper  considered the relationship of print to the transmission of ideas through the multiple. This includes the changing role of the print studio and how artists are increasingly viewing print as an opportunity to produce work, which is distinct and resolved within the medium of print.’

Chelsea MA Fine Art 2013 alumna Tanja Engelberts was asked to participate at the Haus der Niederlande with two other artists from the Netherlands in one of the exhibitions linked to the SNAP symposium. She exhibited a work called Seance, which she made on the MA Fine Art course at Chelsea.

After she completed her degree, Engelberts won the Clifford Chance sculpture award, where she displayed the Island a work exploring escapism within a corporate architectural environment, while simultaneously investigating the relationship between sculpture and photographic imagery. A stipend for emerging artist from the Mondrian Fund (Dutch art council) enabled her to develop different projects including a residency at the Ucross Foundation in Wyoming USA, a commissioned work for Scheveningen prison commemorating its second world war history and various group and solo exhibitions.

Currently Tanja Engelberts lives and works in the The Hague NL, where she is preparing an expedition to a North Sea drilling site in order to research the economic, ecologic and human presence on a seemingly empty space.

 

Top Image: Seance by Tanja Engelberts

Cyanotype Workshop led by Peter Gosnell

In advance of the upcoming symposium, Shadow Without Object, Peter Gosnell led a workshop teaching seven selected students how to make Cyanotype prints. Gosnell, Teaching & Learning Technician in the Photography Resource Centre at Camberwell, taught them how to prepare their digital images to be made into ‘tuned-in’ silver halide negatives for printing. The Cyanotype process was then introduced to them within its historical context, and they learned how to be discerning about what papers they selected to use with the Cyanotype printing process. The morning session taught them best practice in how to sensitize papers, dry sensitized paper, calculate correct exposure, and wash-out and dry printed-out paper. In the afternoon students worked independently under supervision.

Shadow without Object considers emerging photographic technologies against a wider historical context of overlooked and marginalised practices, exploring in particular one of the medium’s long-held and contentious theoretical tenets which describes the physical relationship between a photograph and its subject – the index. The symposium is a 1-day event taking place on Friday 4 December at Chelsea College of Arts.

Imperial size cyanoprint from a laser print of a digital collage of Lancelot ‘Capability’ Brown’s edited work at Syon House in west London, framed by iconic images of Brown and the churches at which he was baptised, married and buried, to mark the tercentenary of Brown’s birth in 1716. Painted digitally by Alasdair Saunders with assistance from Camberwell staff at the digital print and photographic facilities.

Imperial size cyanoprint from a laser print of a digital collage of Lancelot ‘Capability’ Brown’s edited work at Syon House in west London, framed by iconic images of Brown and the churches at which he was baptised, married and buried, to mark the tercentenary of Brown’s birth in 1716. Painted digitally by Alasdair Saunders with assistance from Camberwell staff at the digital print and photographic facilities.

Alasdair Saunders, MA Fine Art Digital student at Camberwell, was one of the students who participated and told us of some of the outcomes. ‘The workshop was extremely instructive and most efficiently organised. The Cynotype was much admired during the MA pop-up show on Wednesday 25th November and as a result a number of other co-students have asked me for introductions to the technical staff running the symposium and workshops. I believe that the broader public will likewise much appreciate the Cyanotype, if and when, it is on display at Somerset House in June 2016 as part of a photographic exhibition to mark the tercentenary of Lancelot Capability Brown in 2016. I am meeting with the Syon House management next week to discuss its possible use as part of their celebrations and, if these and other discussions advance, many more such prints could be required.

The success of these initiatives will create opportunities to credit Camberwell with the Cyanotype process before a wide audience.  It will also require me  to further exploit the Camberwell facilities.’

Top image: Giacomo Raffaelli With a Relative Uncertainty

Temporal Representations and 5 Minutes Conversations at Kinesis and Stasis

On Friday 27th November, CCW PhD doctoral researcher Mohammad Namazi is presenting his talk Temporal Representations at the Barbican Art Centre as part of the the event Kinesis and Stasis. The event is organised by the TECHNE student (Un)Conference to explore a wide range of interdisciplinary interpretations under the theme of Kinesis and Stasis.

Namazi’s paper explores the associations of temporality with contemporary art practice in visual art. His talk at the (un)conference, introduces methodologies such as; conversations, sound, kineticism, installation, participation and sculptural structures as integral part of the creation of the artworks.

On a theoretical level it is also investigating Peter Osborn’s ideas about post-conceptual art as the contemporary art (Osborn, 2013).  The investigation considers art practices that reflects participatory characteristics, processed based or temporal artworks.

As part of the Kinesis and Stasis event, Namazi is also invited to exhibit his recent sound installation. 5 Minutes Conversations, is an investigational platform where dialogical methods and sound performance act as the media of the artwork. The project features one-on-one dialogues and uses the generated information, as the material for a live sound performance, executed by the participants.

The stall lends a non-critical ear to the participants’ views on art and the role of artists in the twenty-first century. It collects ideas and reflects them in order to engage with the particular values of each individuals. Involving the public directly with the process, through methods such as; dialogue and sound device interaction, suggests a collective form of art production in which, not only the construction of the final artwork is temporary but also in alliance with the participation and contribution of the public.

The temporality of dialogue and sound as media opens up possibilities to investigate the outcome of the project in other dynamic formats. For instance, within the virtual world of the internet, the project explores how the documentation of physical activities with temporal representations can morph into other kinds of representations in a digital medium.

The transition that occurs from a dialogue to a sound performance highlights the participatory methodologies for this socially engaged artwork. In addition it attempts to explore the values and differences of temporal art practices in visual art discourse within both, the physical and digital environment.

In his abstract for the talk ‘Temporal Representations’, Namazi says, ‘Temporal Artworks, kineticism and discontinuity became a focal point of analysis in theoretical texts of the late 1960s. For example, Jack Burnham noted that “the cultural obsession with the art object is slowly disappearing […]”. (Burnham, 369: 1968)

Around the same time as Duchamp claimed that artworks have their own “life-span”, (Antoine, 1966), Lucy Lippard documented how art can be unstable and short-lived (Lippard, 1973 and Osborne, 2011)

More recently, Nicolas Bourriaud has suggested that we now live in a “disposable world”, where temporal characteristics are emerging such that “the short-lived is overtaking the long-term […], [and] the stability of things […] is becoming the exception rather than the rule.” (Bourriaud, 80: 2009)

Although still a contested field (see: Peter Burger Theory of the Avant-Garde, 1984, and Hal Foster’s Return of the Real, 1996), ideas such as these have often been central articulations of the early avant-gardes and the neo-avant-gardes.

This paper will examine, consolidate and contribute to understanding of theory and practice addressing contemporary artworks that can be described as temporal. It also aims to explore how ideas such as “Manifesto of Realism” by Gabo (1920) and theories such as “Manifesto for Statics” by Tinguely (1959); could influence the practice of visual arts in such ways that temporality in the field of conceptual art become more prominent in the 21st century.’

Mind the Gap: The Artist in Culture Studies

CCW Graduate School doctoral students Stephanie Spindler and Robert Gadie recently presented papers at Mind the Gap: The Artist in Culture Studies, 5th Graduate Conference in Culture Studies, School of Human Sciences, Catholic University of Portugal, 2nd – 3rd November 2015. Taking as a starting point Hal Foster’s essay The Artist as Ethnographer? (1995), this conference aimed to bring together doctoral and post-doctoral students working within disciplines that relate to the study of culture (arts, humanities and social sciences), and establish a forum for stimulating debate. The keynote speakers included Laura Mulvey (Birkbeck College, University of London), Jean-Francois Chougnet (Director of the Musee des Civilisations de l’Europe et da la Mediteranee, Marseille), Isabel Capeloa Gil (Vice-Rector at UCP/Director of The Lisbon Consortium Programme), and Ruth Rosengarten (Artist/Writer/Curator, Research Associate at University of Johannesburg).

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Spindler presented a talk entitled A Shift in Weight in which she talked about her artistic practice and the components of her research. Her objective was to show how the theory and practice were integrated and how through the activity of the practice questions were generated that would enable her to resolve her research question.

Gadie presented a paper titled The artist as a liberated producer of knowledge? He considered two early examples of artistic-research (academic research done by fine artists), and questioned how they adhered or reacted to, normative conceptions of knowledge production. This allowed for the articulation of a methodological problem caused by a conflation of the context of discovery and that of justification, in which a similarity can be noted between kinds of artistic-research and kinds of ethnography. By comparing these ways to do research, Gadie elaborated the cost of being ‘liberated’ from a disciplinary account of knowledge production.

Qui Pourra Screening by Art & Language and Dr Jo Melvin

On Monday 7 December 2015 at 5.30, Art & Language will present a screening of their film Qui Pourra, 2007 in the Banqueting Hall at Chelsea College of Arts. This launch event will be their first as Visiting Professors at UAL. This short film focuses on the studio and the Art & Language’s collaborative dialogic practice. It uses Courbet’s The Artist’s Studio; A real allegory summing up seven years of my artistic and moral life, 1854-55 as its starting point. The screening will be introduced by Jo Melvin and it will be followed by a panel discussion with Michael Baldwin and Mel Ramsden.

Art & Language have said, ‘Qui Pourra takes its name from a remark by Gustave Courbet concerning the crowded political and artistic content of his L’Atelier du Peintre. (“Figure it out who can”). The theme of the studio has recurred from time to time in the work of Art & Language since 1982, and in the guise of the “Index” since the early 1970s. Specific reference to Courbet’s Studio was made in the series of paintings titled Index: the Studio at 3 Wesley Place Painted by Mouth, or …in the Dark. The studio painting is a genre that, according to historical convention, enables the artist to reflect on their times – to say what it is like to be an artist. The genre may propose this, but the studio is also an ideological space, a place of fictions, tropes and lies. Indeed, the studio has long been superseded as a site of production by the institution and the gallery and less.’

When conceptual art, performance, happenings and the so called ‘new art practices’ exposed the cracks of modernism’s exclusivity the activities of Art & Language have provoked reflexive enquiry, practical variety and resilience to easy categorisation. The tactics they employ incorporate performance, sculpture and painting to question genre, language and context brings a humorous ambiguity to the status of the art object, and its critical audience within the parameters of its institutional and historical framework. Their most famous work is Index 01. It was first shown in the groundbreaking Documenta 5 1972. In 1997, Art & Language were nominated for the Turner Prize, Tate in 1986, they had a major retrospective at MoMA PSI, 1999 and most recently Art & Language Uncompleted MACBA, 2014-15.

The name Art & Language was first adopted in 1968, to refer to a collaborative practice that had developed over the previous two years between Michael Baldwin and Terry Atkinson, in association with David Bainbridge and Harold Hurrell. Over the next several years it stood for a collaborative practice with a growing and changing membership associated with the journal Art-Language, first published in May 1969, and subsequently with a second journal The Fox, which was published in New York in 1975-6. Joseph Kosuth was invited to act as American editor of Art-Language in 1969. In the following year Mel Ramsden and Ian Burn merged their separate collaboration with Art & Language. Charles Harrison became editor of Art-Language in 1971. By the mid 1970s some 20 people were associated with the name, divided between England and New York. From 1976, however, the genealogical thread of Art & Language’s artistic work was taken solely into the hands of Baldwin and Ramsden, with the theoretical and critical collaboration of these two with Charles Harrison who died in 2009.

The screening is free and can be booked online.