Category Archives: Events

Concrete Poetry: UK Networks & Connections – Research Symposium

A CCW & CSM research event part of University of the Arts London (UAL) Research Fortnight 2017

Date: 15 March 2017
Venue: Chelsea College of Arts (Banqueting Hall), University of the Arts London
Admission free 
After decades of scarce academic interest in Concrete poetry, over the last few years a
number of UK-based researchers have started to produce new work, including several
PhD projects (some now completed), approaching this complex subject from both
artistic and literary perspectives.

Concrete poetry, originally a literary movement heavily influenced by Modernist art
(Constructivism and Concrete art), appeared in Brazil, Germany and Switzerland in
the mid-1950s, and was characterized for privileging the visual (typographical)
arrangement of words over more traditional elements of the poem (sound and
meaning). It was adopted by visual artists and incorporated into art practice during
the early and mid-1960s, becoming an international phenomenon through a network
of little magazines, self-publishing and a few influential exhibitions, with the UK
playing an important role in this development.

This would be the first symposium held in the UK aiming at bringing together
academic researchers working in the field of Concrete poetry. Presenters will be
invited to talk about their current topics of work, with panel discussions providing an
overview of the current state of the investigation. There will be a general theme, UK
networks and connections in Concrete poetry, but the emphasis would be for
researchers active in this area to present their recent work.

The symposium will present new, original contributions to our knowledge of the
complex relations of literature and the visual arts, making explicit multiple forms and
examples of mutual influence within experimental practices during the 1960s.
Although the perspective would be primarily historical, it will also be relevant to
current expanding fields like conceptual writing and artists’ writing and publishing.

Programme:
9.45 Welcome/Opening: Prof. Oriana Baddeley, Dean of Research, UAL
Morning panel
Chair: Dr Michael Asbury 10.00 Paper 1 Dr Steve Willey
10.30 Paper 2 Nicola Simpson
11.00 Paper 3 Gustavo Grandal Montero

(Break 11.30-11.45)

11.45 Paper 4 Dr Greg Thomas
12.15 Paper 5 Alice Tarbuck
12.45 Panel discussion
(1.00pm Lunch break)

Afternoon panel
Chair: Dr Alison Green
2.00pm Paper 6 Dr Michael Asbury
2.30pm Paper 7 Dr Viviane Carvalho da Annunciação 3.00pm Paper 8 Jasmin Wrobel
3.30pm Paper 9 Dr Vinicius Mariano de Carvalho

(Break 4-4.15pm)

4.15pm Keynote: ‘Concrete Poetry: Then and now’, Prof. Stephen Bann
4.45pm Panel discussion
5pm Ends

Organised by Gustavo Grandal Montero, PhD candidate, Central Saint Martins (UAL)
and Academic Support Librarian, Chelsea College of Arts / Camberwell College of Arts
(UAL) [email protected]
Advisory panel: Michael Asbury, Alison Green, Jo Melvin (UAL). Nicola Simpson
(NUCA) and Greg Thomas (Edinburgh).

An exhibition of Concrete poetry from the nationally important holdings in the Special
Collections at Chelsea College of Arts Library will be held 13-31 March to coincide with
the symposium, highlighting the role of UAL archives and special collections in PhD
research. Exhibition open to UAL staff and students, alumni and SCONUL members
during library opening hours. External visitors by appointment only.

Image: Futura, issues 1-26. Courtesy of Hansjörg Mayer.

Speakers:

Prof. Oriana Baddeley, Dean of Research, UAL
Welcome/Opening

Dr. Steve Willey
Visual and verbal permutations in the work of Bob Cobbing Over the last ten years and on both sides of the Atlantic, ‘Make perhaps this out sense of can you’ (1963), a seventeen-line permutation poem by British Concrete Poet Bob Cobbing, has repeatedly been used as the point of access into the world of Cobbing. In 2007 the poem’s title was used as the name for an intermedia event and exhibition of Cobbing materials at the Rosenwald Gallery in the Van-Pelt Dietrich Library, University of Pennsylvania. In 2011, a BBC Radio 4 documentary on Cobbing used the poem’s title, as did an academic symposium on Cobbing’s work held at Chelsea College of Arts in 2015. This paper argues that using ‘Make Perhaps This Out Sense of Can You’ to signal a critical engagement with Cobbing’s work today, revisits and amplifies relationships between criticism (the making of sense) and community (the making of a ‘School’) that were operating on the poem at the point of its composition in 1963, and further explores broader relationships between permutation and British Concrete poetry.

Nicola Simpson
the sun-cheese wheel-ode and other no things: performing no thingness in the work of dom sylvester houédard, ken cox & li yuan chia
This paper will focus on performing no thingness, the exhibition I recently curated for East Gallery at Norwich University of the Arts (2016). Exhibiting the previously unseen book of onomasticons by dsh, the rarely shown five elemental balloon poem by Ken Cox, and magnetic multiples by Li Yuan Chia, the intention was to demonstrate how, for each artist, performance was central to their understanding and making of poemobjects, poemscores and poemenvironments. These three artists all knew each other, sharing an interest in the Eastern Buddhisms and Taoisms that present objects not as things but as relationships, events and actions. Concluding with a screening of the documented performance of “the sun-cheese wheel-ode a double-rolling-gloster memorial for kencox”, I will illustrate how my doctoral research and curatorial practice has been engaged with (re)performing the archive of dsh to create a space “in which words wld move thru the air”.

Gustavo Grandal Montero
Materialising language: concrete poetry and UK art schools in the mid-1960s
The topic of my research is the relation between Concrete poetry and conceptual art, and the ‘turn to language’ in visual arts during the 1960s. During this decade, a large number of artists embraced ‘new’ media and dematerialised practices, with a significant proportion using language/text as the basis of their work, notably conceptual artists. My presentation will concentrate on the adoption of Concrete poetry by artists and designers based in UK art schools, and its rapid evolution in the central years of the decade (1964-1967), as evidenced at Chelsea School of Art in the collaborations of Edward Wright (dsh, John Furnival, Ian Hamilton Finlay, Stephen Bann, etc.) and the work of Tom Edmonds and others.

Dr. Greg Thomas
The provincial sixties: Literary and artistic culture in the Midlands, West Country and Wales
This paper will explore regional literary and artistic communities during what Arthur Marwick calls the “long sixties” (ca. 1958-74), focusing especially on centres of activity in the Midlands, West Country and Wales. The aim is to interrogate London-centric conceptions of the era’s defining cultural trends by exploring the socio-cultural backdrops and literary and artistic outputs of these alternative cultural centres, emphasising their relationship to defining “sixties” genres such as concrete poetry. The first part of my paper will explore current conceptions of the sixties focused upon London as a hub of literary and artistic activity, established partly by influential memoirs from Jeff Nuttall’s Bomb Culture to Barry Miles’s In the Sixties. I will then sketch out a number of alternative sixties cultural centres, primarily around Birmingham, Bristol, Cardiff, and Nottingham. Alluding to relevant social and cultural backdrops – the expansion of the university sector, the increasing (and increasingly regionally-focused) provisions of the Arts Councils, the growth of a transnational counter-culture – I will consider the typical operations of such communities, involving independent bookshops, galleries, small presses and magazine series, which became nexuses within national and international cultural networks. These networks were generally connected to North America, and thus to the aesthetics of objectivist, beat and Black Mountain poetry, and of intermedia and pop art; and often with South America and Northern Europe, and thus with the concrete art and poetry movements. Finally, I will consider some exemplary publishing projects of the period, and some of the literature and art produced within such communities. I will allude to some possible implications of this re-adjusted conception of sixties culture by adapting recent insights on late and global modernisms.

Alice Tarbuk
The unstable legacy of concrete poetry in the work of Thomas A. Clark
In 2015 the Hayward Gallery published a work entitled The New Concrete: Visual Poetry in the 21st Century. Amongst emergent concrete and visual artists such as Greg Thomas and Sophie Herxheimer, it was perhaps surprising to see the inclusion of those poet/artists whose work had also formed part of the original concrete poetry ‘renaissance’ of the 1960s, including Stuart Mills, David Bellingham and Thomas A. Clark. (1) (2) It was correct to include Clark amongst the newer visual artist/poets in the anthology, because Clark’s relationship to concrete poetry is neither old nor new: it has been, and continues to be, a major influence on his work.
Indeed, concrete poetry is perhaps the single biggest influence on Clark’s poetic output, and has been since he began making work in the 1960s. In interviews, he credits the wedding gift of an Adana, and his friendship with Ian Hamilton Finlay as the catalysts for his poetic career: he began, then, with concrete poetry. (3)

This paper argues that Clark’s approach to concrete poetry is unusual because, unlike Finlay’s, it persists into the post-concrete era. Clark’s approach to his influences is one of advance and return: he both participates in, and draws back from them, and this is no different for his relationship with concrete poetry, remaining perhaps a little apart from it, even where its influence is clear, making him at once a concrete poet, and a post-concrete poet.
(1) Emmett Williams speaks of ‘the concrete ‘renaissance’ in England, Germany and Sweden during the early sixties’, differentiating this from the first wave of concrete poetry in the 1950s. Williams, Emmett, An Anthology of Concrete Poetry, (New York: Something Else, 1967), p. vii.
(2) Bean, Victoria, Chris McCabe, Kenneth Goldsmith, and Robert Montgomery, The New Concrete: Visual Poetry in the 21st Century, (London: Hayward Gallery, 2015).
(3) ‘The fairly severe limitations of the adana have been a continuing influence on my poetry, as confining and empowering as, let’s say, the haiku or the sonnet.’, Clark, Thomas A. ‘An Inconspicuous Green Flower’ in Bevis, John, Certain trees: the constructed book, poem and object 1964-2006 (Saint-Yrieix-la-Perche, France: Centre des livres d’artistes, 2006). p.143.

Dr. Michael Asbury
Haroldo de Campos’ notion of ‘Transcriation’ and the time of art history
This paper draws on the notion of ‘transcriation’ and its relation to poetic writings beyond (but not altogether excluding) the problem of translation within concrete poetry.
Haroldo de Campos responded to works by Helio Oiticica by referring to Ezra Pound’s translation of a Japanese Noh theatre play, the Hagoromo (The Feathered Mantle), as well as the 19th century proto-modernist narrative poem O Guesa Errante (1877) by Joaquim Sousândrade. For Oiticica, the poet’s conjunction invoked further associations, namely with Mallarme’s ‘Un Coup de Des’ and Malevitch’s ‘White on White’, which manifested themselves respectively in films such as ‘Agripina e Roma Manhattan’ and in installation projects such as the Magic Square series. Transcriation thus becomes a means of reconsidering Oiticica’s so-called turn to transmedia which uproots his work from the genealogy of concrete/neococoncrete art placing it under the umbrella of conceptual art.

This example, as limited and specific as it may be, demonstrates nevertheless that the disjunctive temporalities present within the work of contemporary art may far exceed the scope of the consensual time of art history. This complex and transnational matrix of historical references invokes in these works of art hopefully serves to demonstrate the limitations of discourses based on stylistic precedence and more recent proposals purporting the advent of global-art movements such as global conceptualism, ‘other primary structures’, global-pop and so forth.

Dr. Viviane Carvalho da Annunciação
(Re-)interpretations and (mis-)readings: Brazilian, English and Scottish exchanges
The objective of this paper is to examine the dialogue between the Concrete Poets in Brazil and the United Kingdom. The term “Concrete” is generally applied to a variety of artistic movements that followed the post-war frustration with traditional forms of art. Part of a collective search for new artistic materials, Concrete Poetry is the product of two traditions that emerged in the fifties, one of the Bolivian-born Swiss writer, Eugene Gomringer, and the other the Brazilian Noigandres group formed by Haroldo de Campos, Augusto de Campos and Décio Pignatari. Through a productive dialogue, Gomringer and Noigandres brought together these two distinctive artistic projects and disseminated the movement worldwide. Through the analysis of the private exchange of letters, journals, books and artistic objects between Brazilian and British Concrete Poets, more specifically Ian Hamilton Finlay and Edwin Morgan, I wish to shed some light on the cultural and artistic reception of the movement in the United Kingdom. I also wish to argue that this personal form of distribution generated major changes in the poetics of Concrete Poetry as a whole.
Jasmin Wrobel

Transtemporal and trans-spatial dialogues in Haroldo de Campos’ ‘Galáxias’ Latein Amerika Institute – Freie Universität Berlin In the short metatext “dois dedos de prosa sobre uma nova prosa” which accompanies the publication of the first fragments of Galáxias in the literary journal Invenção in 1964, the Brazilian concrete poet Haroldo de Campos defines his book project as a work where “tudo [é] anônimo”, but “personalíssimo” (Campos 1964: 112-113). Indeed, the book reflects the Haroldian cosmos and comprises not only his literary predilections and theoretical interests, but also his journeys and encounters between 1959 and 1976. In my presentation, I would like to illustrate some of the text’s facets that interact on a synchronic level in the “umbigodomundolivro”/”naveloftheworldbook” Galáxias. I intend to emphasize the transtemporal and transpatial poetic mappings and the world literary dialogue in the polyphonic fragments. In a second step, I would like to show in how far the book can also be read as a poetic “Zeitzeugnis”/testimony of the 20th century.

Dr. Vinicius Mariano de Carvalho

Concrete poetry and music: connections and counterpoints This presentation will highlight the relations between concrete poetry and music. Focusing on the dialogues between compositional procedures of contemporary music and poetics of concrete poetry, the idea is to hermeneutically analyse how these were of mutual influence, especially observing musical aesthetics of the XX century, such as Serialism, Dodecaphonism and Concrete music. Some examples will be discussed and some Brazilian concrete poetry and popular music will be more comprehensively analysed.

Prof. Stephen Bann
Keynote – Concrete poetry: Then and now
Ian Hamilton Finlay’s decision not to contribute to John Sharkey’s projected anthology of concrete poetry in 1970 marked an irreversible step in his development as a poet and artist. Fundamental differences which separated his approach from that of the London-based poets had come to the fore. This paper will consider two aspects of the poetic experiment of the period that seem relevant today in the light of this disaffiliation. I will look at the conspectus of externally sited works produced for the Brighton Festival of April 1967 – which took place just half a century ago, and also involved staff and students of Chelsea College of Art in a major way. I will also examine how Finlay’s production of folding cards from that period onwards continued to extend the range and potentiality of the concrete poem.

Transpersonal: Elizabeth A. Povinelli

8 Feb 20172:00 pm | Cinema 1 | £3.00 to £5.00 Book Tickets

Elizabeth A. Povinelli is Franz Boas Professor of Anthropology and Gender Studies at Columbia University where she has also been the Director of the Institute for Research on Women and Gender and the Co-Director of the Centre for the Study of Law and Culture. She is the author of numerous books and essays as well as a former editor of the academic journal Public Culture.

Her writing has focused on developing a critical theory of late liberalism that would support an “anthropology of the otherwise”. This potential theory has unfolded primarily from within a sustained relationship with Indigenous colleagues in north Australia and across five books, numerous essays, and three films with the Karrabing Film Collective including Wutharr, The Saltwater, 2016 which premiered at Sydney Biennale and was winner of the 2015 European Visible Award.

This lecture is the fourth in a series entitled Transpersonal: art and life directives, ten lectures which will engage with the production of psychotechnologies, socio-political awareness and art and design practices in an automated reality. Each lecture will explore the ways in which the term transpersonal relays states of consciousness that go beyond the limits of personal identity.

Transpersonal: art and life directives is a lecture series on the theory and application of art and design, curated and convened by Dr. Stephen Wilson. It is staged in collaboration with the ICA and the Chelsea, Camberwell and Wimbledon College of Arts postgraduate community at the University of the Arts London.

Image: Karrabing Film Collective, Wutharr: Saltwater Dreams, 2016.

Exchanges between Sol LeWitt and Jeffrey Isaac in Spoleto, Italy, and New York and Chester, Connecticut US

Sol LeWitt and Jeffrey Isaac were neighbours and friends in New York, USA and also in Spoleto, Umbria, Italy. This display documents Sol LeWitt wall drawing 806# in Isaac’s collection and shows a few of the special collection and library’s holdings of Sol LeWitt books. LeWitt publications displayed are ‘100 Cubes’, ‘Autobiography’, Artforum October 1981, ‘Four Basic Kinds of Lines & Colour’, ‘Lines & Color’, and ‘PhotoGrids’. Also showing are Jeffrey Isaac’s imprint, PIM (Public Illumination Magazine) the smallest magazine of its kind.

Jeffrey Isaac met Sol LeWitt through Printed Matter, the artists bookshop in New York that was founded by LeWitt and Lucy Lippard amongst others. He came into the shop with copies of PIM. LeWitt and Isaac were neighbours in New York and in Spoleto, Italy, where LeWitt lived from the mid 1980s for several years, thereafter returning for 3-6 months each year. Isaac moved to Spoleto in 1986 where he has since lived permanently. The two formed a close friendship and had an on going dialogue. This display brings their publications together – for the first time in London. Coincidentally Isaac studied for a year at Camberwell in 1975-76 in the painting department when he made a series of works spanning across London, notably a series of lines in various sites including the National Gallery and Trafalgar Square.

Jeffrey Isaac will be speaking about his work with Jo Melvin in the Green Room at Chelsea College of Arts, 16 John Islip Street, SW1P 4JU on January 31 2017, at 4.45.

The display is arranged by Jo Melvin, Reader in Fine Art, Archives and Special Collections

 

The Millbank Atlas

21 – 28 January 2017, Monday – Saturday, 10 – 4  

Cookhouse Gallery, Chelsea College of Arts

Curated Conversation on the evening of 20 January 2016, 5 – 8
Interactive Mapping on 24 January, 11 – 4
Finnisage / Closing event on 26 January, 5 – 8
everyone welcome

Interior and Spatial Design and Camberwell, Chelsea and Wimbledon Graduate School are delighted to join forces for an exhibition and public events programme exploring the lived experience of Millbank

The Millbank Atlas is a collaborative project that brings together researchers, students and local residents to trace the neighbourhood of Chelsea College of Arts. Students of BA Interior and Spatial Design’s Studio 07 have used practice-based research to create maps and other cartographic experiments that identify distinguishing characteristics of this part of London. At stake here is a better understanding of Millbank as comprised of reciprocal relations between the College and surrounding businesses, residential blocks, civil society groups, transportation links and other amenities, infrastructure and further aspects of this built and natural environment.

This exhibition of The Millbank Atlas is cocurated by Dr Marsha Bradfield and Shibboleth Shechter and will showcase an ongoing community relationship that Shechter established with Millbank local Wilfried Rimensberger in 2014.

The Millbank Atlas is made possible thanks to generous support from Camberwell, Chelsea, Wimbledon Graduate School.

Transpersonal: Susan Kelly | Micropolitics: Practices of Freedom and Rehabilitation

25 Jan 20172:00 pm | Cinema 1 | £3.00 to £6.00 Book Tickets

Micropolitics: Practices of Freedom and Rehabilitation

This lecture, the third in the Transpersonal series, explores what we can learn from terrorist rehabilitation programmes about the relationship between micropolitics and subjectivity, practices of freedom, and the psychic spaces of the (ethno) state today.

From the late 1990s the Egyptian, Yemeni and Saudi Arabian governments developed a series of programmes that sought to ‘rehabilitate’ jihadists as part of broader counterterrorism measures. ‘Jihadi Rehab’ camps employ clerics and scholars to engage in theological debates with prisoners, and provide counselling, education, sports and practical training. Their aim is to re-orientate prisoners toward the family and the private sphere, and to re-programme subjects who are non-violent and accept the legitimacy of the state. Such practices of ‘rehabilitation’ have a long history under British colonialism, and provide us with fascinating blueprints of explicit programmes for the un-making and re-making of political subjects.

The Mau Mau Rehabilitation Camps in Kenya in the 1950s for example, also claimed to transform Kikuyu inmates into loyal and productive citizens. Working with colonially educated ethno-psychiatrists, they attempted to ‘de-programme’ fighters through performative ‘counter-oaths’ that would free the individual from the group. In these contexts, technologies of the self and micropolitical processes are employed not as practices of freedom as thinkers such as Foucault and Fanon conceived of them, but are rather used to consolidate racist and pseudo-medical notions of normalization and submission – coded as ‘cure’.

Susan Kelly is Senior Lecturer in Fine Art at Goldsmiths College, University of London. Her research looks at relationships between art and micropolitics, technologies of the self, space and practices of organisation. She works in the context of various collectives and individually in time-based work, installation and through writing, publishing and convening events and performative/ militant investigations.

Transpersonal: art and life directives is a lecture series on the theory and application of art and design, curated and convened by Dr. Stephen Wilson. It is staged in collaboration with the ICA and the Chelsea, Camberwell and Wimbledon College of Arts postgraduate community at the University of the Arts London.

Image: A still from the British Pathé Newsreel: The Lari Massacre 1953 and the capture of Dedan Kimathi, 1956 

Transpersonal: Gilda Williams | The Tao of Warhol, and Other Tales

18 Jan 20172:00 pm | Cinema 1 | £3.00 to £6.00 Book Tickets

 This talk by Gilda Williams is an experiment in examining the art and life of artists from a spiritual perspective, from Andy Warhol to Amalia Ulman. The lecture is the second in a series of responses to the theme ‘transpersonal’, which relays states of consciousness that go beyond the limits of personal identity. This may include peak and spiritual experiences such as near death phenomena and the expansion of awareness beyond the usual remits of individuality, which may be brought on by experiences of crisis related to the spiritual, ethical and relational extremes of contemporary life.

Gilda Williams is a writer and art critic who teaches on the MFA Curating programme, Goldsmiths. Her most recent book is ON&BY Andy Warhol (MIT/Whitechapel Press, 2016). She has also authored How to Write about Contemporary Art (Thames & Hudson, 2014). Williams is a London correspondent for Artforum magazine and a member of the International Association of Art Critics. She was Editor and Commissioning Editor (from 1997) for Contemporary Art at Phaidon Press 1994-2005, where she commissioned the ‘Contemporary Artists’ monographs, ‘Themes and Movements’ series of anthologies, and other books including Salon to Biennale: Exhibitions that Made Art History (2008).

Transpersonal: art and life directives is a lecture series on the theory and application of art and design, curated and convened by Dr. Stephen Wilson. It is staged in collaboration with the ICA and the Chelsea, Camberwell and Wimbledon College of Arts postgraduate community at the University of the Arts London.

Image: ON&BY Andy Warhol by Gilda Williams (MIT/Whitechapel Press, 2016)

TRANSIENT SPACES | Lecture Series

The Spaces and Narrations Research Group, in collaboration with Wayward, the Interior and Spatial Design Programme Practitioners-in-Residence, present an open lecture series to accompany the Transient Social Environments symposium on Saturday 11 March 2017

Monday 16 January 2017
HEATHER RING AND TOM KENDALL: WAYWARD
http://www.wayward.co.uk/ 

Monday 23 January 2017
HOLLY LEWIS: WE MADE THAT
http://www.wemadethat.co.uk/

Monday 30 January 2017
OLIVIU LUGOJAN-GHENCIU
http://olgv.net/

Monday 06 February 2017
BEN CAMPKIN
https://www.ucl.ac.uk/urbanlab/people/ben-campkin

Monday 13 February 2017
differencEngine
http://differencengine.co.uk/about/

Monday 20 February 2017
JE AHN: STUDIO WEAVE
http://www.studioweave.com/

Monday 27 February 2017
PAUL SMYTH: SOMETHING & SON
http://somethingandson.com/

Monday 27 February 2017
JANE BRODIE
http://jane-brodie.co.uk/

All ISD OPEN LECTURES start at 6:00 pm
Lecture Theatre, Chelsea College of Arts, Atterbury Street Entrance Millbank, London, SW1P 4JU
More information here: www.baisd.wordpress.com

Image courtesy of Wayward.

Transpersonal: art and life directives | ICA/UAL Lecture Series

The term transpersonal relays states of consciousness that go beyond the limits of personal identity, this may include peak and spiritual experiences such as near death phenomena
and the expansion of awareness beyond the usual remits of individuality.

Transpersonal, art and life directives – is a series of ten lectures that engage with the production of psychotechnologies, socio- political consciousness and art and design practices in an automated reality. It looks at hands-on contribution, belonging, profiling, and ownership of institutions that are continuously reinvented, opening up the potential for a new flux of intrapersonal encounters. Transpersonal, art and life directives is a lecture series on the theory and application of art and design curated and convened by Dr. Stephen Wilson in collaboration with the ICA and the postgraduate community at Chelsea, Camberwell and Wimbledon College of Arts, University of the Arts, London.

To book tickets: ica.org.uk
Institute of Contemporary Arts, The Mall, London SW1Y 5AH

January 2017
18 Gilda Williams
25 Susan Kelly

February 2017
8 Elizabeth A.Povinelli
15 Rizvana Bradley
22 Revital Cohen & Tuur Van Balen

March 2017
8 Elizabeth Jochum
15 Lina Dzuverovi ´c
22 Kerstin Stakemeier
29 Choy Ka Fai

Conference | FROM CODEX TO CODE | Ligatus Research Centre

Ten years of research by graduates of the

Ligatus Research Centre

We invite you to celebrate with us the 10th Anniversary of the Ligatus Research Centre at the CCW Graduate School with a conference at which our first seven PhD and M.Phil graduates will present papers about their current research interests.

The conference will take place on Friday, 24th February, from 10am to 6pm, in Banqueting Hall of the Chelsea College of Arts and Design, University of the Arts London, John Islip Street, SW1P 4JU and it will be followed by a reception.

Tickets for the conference will be available from January 2017

SPEAKERS:

Georgios Boudalis
(Museum of Byzantine Culture, Thessaloniki)
The birth of the codex and the crafts of Late Antiquity

Alberto Campagnolo
(Library of Congress, Washington)
The digital representation of books as objects: from cultural objects to digital cultural objects

Anna Gialdini
(University of the Arts London)
Luxury, Hybridism, and the Strange Greekness of Some Florentine Bindings

Theresa Zammit Lupi
(The Notarial Archives, Valletta, Malta)
On the parchment trail: following music manuscripts from Malta

Heather Ravenberg
(Saint Catherine Foundation)
Documentation schemas for recording conservation activity

Martha Romero
(Universidad Nacional Autónoma de México)
From research to practice

Nikolas Sarris
(National Library of Greece, Athens, Thesaurus-Islamicus project, Cairo)
The Ligatus Condition Assessment Form: a tool for training, studio workflows and surveys: Experiences from Iraq, Ethiopia and Egypt

 

For more information about Ligatus please visit www.ligatus.org.uk

Call for Proposals/ Papers | Spectacular Evidence: Theatres of the Observed Mind

Spectacular Evidence: Theatres of the Observed Mind

Call for Proposals/ Papers

ABOUT SPECTACULAR EVIDENCE: THEATRES OF THE OBSERVED MIND

A one-day symposium, Spectacular Evidence will include presentations, performances, screenings and talks from the fields of visual art, medicine and critical theory.

Drawing upon histories of madness and its exhibition, and considering how it has been staged as cultural performance, this event will consider behaviours and ‘performances’ exchanged between viewer and physician in relation to patient.

Confirmed contributors to the event include:

  • Zoe Beloff, artist. Her exhibition The Coney Island Amateur Psychoanalytic Society celebrated the centennial of Freud’s visit to Coney Island, by resurrecting the forgotten world of the Coney Island Amateur Psychoanalytic Society, along with the visionary ideas of its founder Albert Grass.
  • Dr Anna Harpin, author of ‘Performance, Madness and Psychiatry: Isolated Acts’ (Palgrave Macmillan, 2014).
  • Dr Joanne Morra, Reader in Art History and Theory, CSM. Founder and principal editor, Journal of Visual Culture. Joanne Morra’s recent book, ‘Inside the Freud Museum’ is pending publication with IB Tauris.
  • Florence Peake, artist, dancer and performer, whose recent piece, Swell: The Thickening Surface Of, explored the gap between inner and outer as a tension between inanimate, figurative carapaces, and imagined interior lives being voiced
  • Dr Michelle Williams Gamaker, artist, filmmaker and collaborator with Mieke Bal on the feature film A Long History of Madness (2011)

The symposium will take place at ArtsAdmin, Toynbee Studios, London, on 24 March 2017.

Spectacular Evidence: Theatres of the Observed Mind is convened by Dr Zoë Mendelson and presented by Camberwell, Chelsea, Wimbledon Graduate School Public Programme in association with ArtsAdmin.

PROPOSALS

Contributions are welcome from across disciplines with a connection to the subject area covered by the symposium.

We welcome proposals for traditional presentations by speakers and performative contributions / variations on the lecture form.

Your proposal/presentation should be no more than 20 minutes in duration

The deadline for applications is 5 pm on January 10th 2017

For more information, please contact Zoë Mendelson at [email protected]

SUBMIT YOUR PROPOSAL HERE: http://bit.ly/2hIpIXe