Author Archives: Nick Tatchell

Staging the Real: Theatre Design Symposium

Wednesday 28 November 2018 , 9.30am – 6pm
Clore Learning Centre: Cottesloe Room, National Theatre
Upper Ground, Lambeth, London SE1 9PX

Join world leading designers, directors and playwrights, as well as academic experts, for a one-day symposium of talks and workshops considering the construction and representation of the real in theatre and performance.

Developed from initial research into Jocelyn Herbert’s designs for The Wesker Trilogy (1960), Staging the Real will explore historic and contemporary approaches to evoke or present the real or realisms in theatre and performance. From re-evaluating notable realist designs from theatre history to engaging with more recent stagings of the real in verbatim or documentary theatre, this symposium will consider the complex relationship theatre practitioners have in their attempts to access reality and represent social, personal and political actualities on stage.  Staging the Real will consider how realisms and variations of the real have been shaped and staged, as it examines critical and practical questions such as: how do designers, directors and writers approach and collaborate in the creation of the real for performance? What are the challenges or parameters for practitioners in constructing and visualising the real or realism?  And, to what extent can the theatre form or reframe the social and personal experiences of realities in performance?

As well as attending the symposium, participants will have the opportunity to explore Jocelyn Herbert’s designs with an archive handling session and a guided tour of the Playing with Scale exhibition.


Speakers:

Professor Arnold Aronson, Columbia University

Alex Eales, Designer and alumnus of Wimbledon College of Arts

Indhu Rubasingham, Artistic Director, Kiln Theatre

Roy Williams, Playwright

Convened by Dr Matthew McFrederick (Jocelyn Herbert Post-doctoral Fellow), Professor Jane Collins (Wimbledon College of Arts) and Professor Eileen Hogan (Wimbledon College of Arts).

http://bit.ly/staging-the-real

Tickets: £55 (senior citizen £40, student/under 18s £15) booking is available on the National Theatre website.

*Special PROMO codes with discounts for UAL Staff and Students will be released in the Autumn Term 2018.*

Staging the Real is part of the Camberwell, Chelsea, Wimbledon Graduate School Public Programme 2018-19, and is organised in collaboration with the Jocelyn Herbert Archive, the National Theatre Archive and the National Theatre Learning Department.

Image: Jocelyn Herbert’s set design for Serjeant Musgrave’s Dance (1959) by John Arden at the Royal Court Theatre. JH0358. © Jocelyn Herbert Archive at the National Theatre.

PAINTING RESEARCH SEMINAR: ADRIAN MORRIS AND THE 1978 HAYWARD ANNUAL

Thu 25th Oct 18:30 – 20:00
FREE EVENT ALL WELCOME

The paintings of Adrian Morris (1929-2004) had their first major exposure forty years
ago at the 1978 Hayward Annual. Noted for its all-women selection committee and
predominantly female exhibitors, the ‘feminist’ annual also offered a cross-section of
art in Britain at the end of an uneasy, indeterminate decade. In the context of the
South Bank’s brutalist architecture, the exhibition explored – not least with Morris’s
highly individual work – zones between utopia and dystopia, public space and private
psychology, the human and the cosmic.

This seminar will revisit the ’78 Hayward Annual, tracing the subsequent trajectories
of some of its participants and reflecting on what such survey shows reveal from
current perspectives. Morris’s work, currently subject to rediscovery and
reinterpretation, will be a central focus

With Merlin James (Glasgow), Anna Susanna Woof (Berlin), Matthew Pang (London)
and Lillian Lijn (UK) and others to be announced

Convened by Daniel Sturgis

Organised by Camberwell College of Arts and 42 Carlton Place

VIS Issue 2, Open Call for Proposals: Estrangement

VIS – Nordic Journal for Artistic Research – opens its call for exposition proposals for Issue 2. The theme is “Estrangement”. The call is open between 1 September and 1 November 2018.

Theme for Issue 2: Estrangement

Svetlana Boym writes, in Architecture of the Off-Modern:

By making things strange, the artist does not simply displace them from an everyday context into an artistic framework; he also helps to “return sensation” to life itself, to reinvent the world, to experience it anew. Estrangement is what makes art artistic; but, by the same token, it makes life lively, or worth living. (Buell Center/FORUM Project & Princeton Architectural Press 2008, p. 18–19.)

This is a different notion of estrangement than the use of the term established by Bertolt Brecht in theatre – as a method of enhancing criticality and an awareness of the levels of fiction – as well as from the Marxist use of the term; an alienation of social relations due to wage labour and reification. Boym’s description seems to involve documentarism, collecting and archival activities – practices where things are isolated or combined in an unexpected way; they suggest a resisting of the erosion of memories and a perhaps vain attempt to postpone the slow and gradual disappearance of things.

In artistic research, there is an additional “double” or “second” estrangement that is crucial: after “making things strange” we, as artists and researchers, engage in another process of self-alienation (and self-understanding) in order to look at our own methods “from the outside”. This estrangement from the working process is vital as part of the attempt to find a language that is able to articulate experiences from artistic practice, and even to evolve theories about that practice.

VIS invites those wishing to submit artistic research material that manifests a reflection upon estrangement – be it from the perspective of Brecht, Marxism, Boym, “second strangement” or any other viewpoint. Art works and expositions should have a clear relation to the theme and be conceived for the benefit both of those within the field and those beyond the sphere of artistic research. Expositions in Norwegian, Swedish, Danish or English are all welcome.

How to apply?

Send your application to visjournal@uniarts.se latest by 1 November 2018. Please, include the following:

  1. Written proposal (PDF-format) containing a short description of your exposition (1–2 A4 pages) including how it relates to the theme “Estrangement”. Also include language choice for the exposition (English, Swedish, Danish or Norwegian).
    2. CV (with country of residence and/or national context).
    3. 1–3 examples of previous artistic research/artistic projects/art work. High resolution images, movies and audio files can be sent through wetransfer.com.

Please note that your exposition should not have been published previously. If certain parts of the exposition have been published, please describe how and when in the application.

Read more!

Wimbledon MA Show 2018

Thursday 6th September – 13th September (closed 9th September)

Wimbledon College of Arts,  Merton Hall Rd, London, SW19 3QA

The Graduate School is pleased to announce that five of our Research Students will be showing their practice at the Wimbledon MA Show.

  • Ana Teles
    • My practice-based research aims to address questions arising from the process of copying another artist’s painting or drawing from a practical, theoretical and ethical perspective. The methodology raises inevitable questions intrinsic to copying: what is the value of authenticity and originality? I am interested in approaching established male artists, whose works already have a strong presence in the art world, and negotiating my own role as a female artist in relation to them and to the copies I make.
      As part of this project’s methodology, I want to understand how it ‘feels like’ to have a painting copied, so I suggested to a few Camberwell, Chelsea, Wimbledon students to re-create my work and they accepted the challenge. For this exhibition, I propose to show my ‘original’ paintings and the copies made by the students with the respective agreements created to define the relationship between copy/original, student/I and the destiny of those copies.
  • Bridget Harvey
    • Repair (once household practice, then chore outmoded by increased consumption) is now in a third wave, seen also as a political and environmental choice, and increasingly an innovative and exciting creative mode.
      Simultaneously embedding, showing and hiding narrative, repair-making before and after the break – while making and while owning – is my focus, aiming to re-story and reconstruct this familiar yet forgotten craft. I take a broad and playful approach, working with domestic objects such as tatty jumpers and broken ceramics, and considering wearing my works, protesting, exhibiting, and facilitating workshops as vital as repair-making itself. Previous research into slowness and playfulness in practice led me to my AHRC PhD, Repair-Making: RepairAbilities of the 3rd wave – Craft, Politic, Community. I investigate social and aesthetic arguments of ‘optional durability’[1]; regain and strengthening of hand-making skills[2]; retraining our ‘consumer brains’[3] to more circular thinking; ownership and the legal rights for tinkering[4]; and use of visibility to encourage others. Repair-making is social as well as material; an emergent field of exciting actions, communities and politics, changing objects, mindsets and habits.
  • Stephanie Spindler
    • My practice-led research explores the structure of experience, using a theoretical feminist phenomenological methodology in relation to a sculptural installation practice, where feminist phenomenology and new materialism intersect to explore the experiential and material engagement of matter and meaning. The research investigates a concept of the female sexed body, the very core of a range of different embodied phenomena: emotions, desires, identity and agency through the process of making/thinking by instrumentalizing the body through my fine art practice. I question what the body is, how through the experience of making might create visibility and presence of what a body might be. I use the format of sculpture installation using a variety of materials, plaster, rubber, paper, fabric, hair, found objects and my body. I use processes of drawing, sewing, casting, collaging and strategies of appropriation and improvisation as well as inventing new ways of making form.
  • Jennifer Wright 
    • My research has been particularly focussed on specific elements of surgical practice and training in order to find commonalities and correlations between the act of drawing and surgery. This has been facilitated by work with virtual learning systems – the EYESi used at Moorfields eye hospital and with the HapTEL system at Kings College Dental Institute. Having made drawings in theatre of surgeons’ work I began to consider the shared physical nature of drawing and surgical practice, particularly around the tactile, haptic nature of procedures, and how this may be codified using drawing. From my initial observations I built up a body of work that I used as a means of consolidating my understand of surgical procedures, and which I used to inform the development of criteria used to assess skills supporting surgical training, which formed a key part of my data collection and analysis in my thesis.
  • Lana Locke (Alumna) 
    • My doctoral research, The Feral, the Art Object and the Social, explores the nature of the
      feral, as manifested in an object-based installation practice of contemporary art that scavenges – physically, socially and metaphorically – in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised and queries distinctions between what, or who, belongs where.

 

Viva Veneris | Elizabeth Manchester

27 July – 2 August

Cookhouse, Chelsea College of Art, University of the Arts, London, SW!P 4JU

Open weekdays 1:30 – 7:30pm

Viva Veneris, because Venus brings life, and it speaks in a thousand tongues – innumerable articulations spiraling and unfolding outwards from secret and most sacred spaces. And the voices say:

We will have no more dead objects!
We want no more pale, souped-up or hyperreal imitations
No more fake mummies
No more murderous machines and their carbonizing death-toll.
Actions speak louder than words.
Cartesian rationality is all very well for mapping the Platonic universe,
but the sublime is organic – it has organs.
Organs of the living body, instruments of work, working matter
matter that conceives, has memory, acts.
Real, embodied, embedded,
we are the imperfect future-present,
of new lives in a process of infinite indefinite becoming.

Elizabeth Manchester presents the practical research for her PhD Object Space Subject: Duchamp’s Etant donnés from the Inside Out in her viva exhibition Viva Veneris, running 27 July – 2 August in the Cookhouse, Chelsea College of Art, University of the Arts, London, open weekdays 1:30 – 7:30pm, or by arrangement (emanchester@ysengrin.com and 07946597791).

In Whose Eyes? Practice in Dialogue Symposium at Beaconsfield Gallery

Image: Ope Lori, Alpha and Beta, 2015, video.

In Whose Eyes? Practice in Dialogue Symposium

Beaconsfield Gallery Vauxhall,

29th July 2018, 11am – 4pm.

The struggle around visual representation is one that feminist artists have always been engaged with and which Rozsika Parker and Griselda Pollock highlighted in Framing Feminism: Art and the Women’s Movement 1970 – 1985 (1987). We are delighted to host Griselda Pollock as a keynote presenter to lead a symposium debating the current state of affairs with speakers including Sonia Boyce, Enam Gbewonyo, Rose Gibbs, Catherine Long and Ope Lori.

A resurgence of feminism in the west and globally continues to gather momentum, accompanied by the realisation among young women that we have been sold a fabrication: that equality has been achieved thereby making feminism redundant. At the same time, capitalism has co-opted the language of feminism in the mainstream media and it can be argued that the backlash against feminism has taken on its most virulent form: behaviours and products that are all part of the capitalist arsenal are recast as feminist tools of ‘empowerment’ while the derivation of that power remains strikingly unexamined.

Supported by Camberwell, Chelsea, Wimbledon Graduate School.

Please register on eventbrite.

https://www.eventrite.co.uk/e/in-whose-eyes-the-practice-in-dialogue-symposium-tickets-47163953655?aff=erelexpmlt

https://www.facebook.com/events/267937270605450/?active_tab=about

Balfron Tower: archiving fragments

The conversations recorded in the making of ‘Walking Between Streets in the Sky’ led to shared enthusiasm between several of the book’s recipients for marking Balfron Tower’s half-century milestone in 2018. The outcome is a timely opportunity to exhibit a six-year archiving project. James’s practice-led research can be viewed at Tower Hamlets Local History Library & Archives in the context of Europe’s biggest annual architecture festival the ‘London Festival of Architecture’ throughout June.

installation view detail

‘Balfron Tower: archiving fragments’ is a methodology as much as an exhibition. A selection of sources are presented in familiar museum cases, as well as above and beyond the traditional remit of the archive: as a wall banner. They are navigable using a free publication which includes a critical essay from writer and curator Owen Hopkins, alongside a commentary by James. Designed by recent LCC graduate Bec Worth, the publication is intended for use onsite and beyond, for as long as it may take. While the exhibition draws on the past, it is very much forward looking. James is concerned with making Balfron Tower, in whatever shape or form, accessible to the children of tomorrow, those who may not be able to afford to live there as he did for 4 years. For those new to the subject, these fragments of an artist’s unofficial archive, set amongst historical materials from the local archives and from further afield, extend the disciplines across which Balfron Tower is discussed, by addressing circles wider than those limited by any specialism.

For the initiated, the exhibition offers a rare opportunity to see what went on inside the walls of a housing complex, from an artist’s point of view. Aimed at a diverse local community as well as visitors from beyond Tower Hamlets, the exhibition is self funded by James and with a small award from the Chelsea, Camberwell and Wimbledon Student Support Fund. The exhibition hours will extend until 8pm on Thursday 21st June, with a conversation between Owen Hopkins, James and others from 6.30-7.30pm.

wall banner detail

Sculptureless Sculpture | Villa Lontana

Curated by Dr. Jo Melvin and Vittoria Bonifati This exhibition at Villa Lontana launches a new collaborative exchange between the Fondazione Dinoed Ernesta Santarelli and contemporary art. Through creating a series of intimate juxtapositions, we hope to draw attention to the performative and sculptural elements that are inherent in classical statuary and architectural fragments, to the potential of being experienced within the context and concerns of contemporary practice. Sculptureless Sculpture brings film and other projected work with
selected artworks and fragments from the Fondazione Santarelli. John Baldessari I Am Making Art (1971) and Baldessari Sings LeWitt (1973), Elisabetta Benassi, Son of Niobe (2013), Ketty La Rocca Appendice Per Una Supplica (1972), Mario Merz, Lumaca (1970) and Ad Reinhardt Travel Slides (1952-1967) will be shown alongside a selection of works from the Fondazione Santarelli including: Giove Eliopolitano III AD, Greek female head I BC, arm fragment II AD, torso of Alexander the Great III AD, fragment of striated sarcophagus II AD, Pinax with theatre masks I AD, Etruscan high relief of Perseus and Medusa V BC and a cleric from Palmyra III AD.

Villa Lontana translates into English as Faraway Villa, was so named because of its distance from the city of Rome. It was literally faraway on a hill. Slowly the city grew to surround it, with land changing from fields and vineyards to conurbation. As an ancient site and an historical building, Villa Lontana provides the opportunity to retrace the complex multilayers of histories of the area of Rome near the Milvian Bridge (built 115 BC). A Roman necropolis of more than one hundred sixty tombs dating back to the first half of the I BC has recently been ‘rediscovered’. Since the Middle Ages the Villa Lontana Estate has been recorded on maps due to its proximity to the Milvian bridge and the Via Francigena. Later it belonged to the Orsini family and then, from the second half of the XVII century, to the Reverend Apostolic Chamber. The property once a notable vineyard, became an exotic garden and the main building was transformed from a rural country house to become the Casino delle delizie (Casino of delights) taking on the imprint of the “illustrious” people that passed through the estate, from Prince Stanislao Poniatowski to Claude Poussin, Antonio Canova and Bertel Thorvaldsen and for the latter three the situation of the Villa created a backdrop for painting and sculpture. Further
changes to the historical building have been made by the British consul among the Vatican Giovanni Freeborn, the engineer, architect and oenologist Giovanni Gabet and by the first director of the American Academy in Rome Samuel A.B. Abbott.

The Collezione Dino ed Ernesta Santarelli spans from the Ptolemaic period until the XIX century with a particular interest on Roman statuary and coloured marbles from Imperial Rome, architecture fragments and painting on stone. There is also an extensive collection of Glyptic art, spanning across five millennia, which is in loan at the Capitolini Museums in Rome.

Private view: Wednesday 16 May, 6pm to 9pm.

The exhibition is open:
17 May – 6 June 2018
11am – 7pm
Tuesday – Saturday and by appointment.

Tel: +39 3392365274
Address:
Via Cassia 53, 00191, Roma

The exhibition is in the former garage of Villa Lontana, designed in 2010 by architect Fabio Ortolani.

Symposium: Painting as ReModel: Revisiting Painting as Model

Lecture Theatre, Camberwell College of Arts
10-6pm, Thursday 21 June 2018

Yve-Alain Bois’ seminal text Painting as Model, published in 1993, is still cited as being an extremely important collection of essays that looks at painting as being both a conceptual and a material enquiry. Bois believes that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality.

Speakers:

Eric Alliez

Philip Armstrong

Jean-Claude Bonne

Matthew Bowman

Alberto Condotta

Moyra Derby

Lisa Florman

The symposium is free and open to all. Booking is essential.

Book your place here: http://bit.ly/painting-as-remodel

This event is convened by Daniel Sturgis, Reader in Painting and Programme Director of BA Fine Art at Camberwell College of Arts. It is presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.