Category Archives: Students

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.

Call for Papers – Painting as ReModel: Revisiting Painting As Model

Yve-Alain Bois’ “Painting as Model” which was Published 1993 is still cited as being an extremely important collection of essays that looks at painting as being a conceptual and 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.

To coincide with the Painting as ReModel Conference at Camberwell College of Arts on the  20 & 21 June 2018 and the Journal of Contemporary Painting Special Issue on the subject, we are looking for papers that address ideas and issues that connect to Bois’ Painting As Model.

Abstract Submissions

150 words by April 16th to    academicadminfineart@camberwell.arts.ac.uk

PQ 2019 | Site Specific Performance Festival Open Call

Wimbledon PhD Graduate, Dr. Sophie Jump, is the curator of the Site Specific Performance Festival at the Prague Quadrennial 2019.

www.pq.cz/en/opencall-site-specific-performance-festival

An International Jury awarded the Prague Quadrennial as one of the 12 of the most trend- setting European festivals of the 2015 from a pool of 760 festivals from 31 countries. The main criteria were Artistic Merit, Innovation, Internationality, Political Value and Sustainability.

From the EFFE jury statement: “Another hugely significant international gathering in its eld, the Prague Quadrennial has identi ed a specific area of artistic practice and made a great impact. Its programmes for students and young professionals are an extremely important aspect of its programme, making it a vital gathering for young artists and designers where they can come together and invent the future of stage design.”

PQ festival is the liveliest, and perhaps the most energizing and inspiring part of PQ that speaks about our contemporary experience, forges new connections, brings new audiences, and gives an opportunity to many artists not only from the area of performance design but also all other related fields to share the newest ideas and most current reflections of our world today. There is an open call to performance designers, directors, choreographers, performers and artists to bring their performances inspired by PQ site and Prague locations where performance design plays integral role and works that could change the regular patterns of the daily city life into a series of memorable moments. The festival is both an incubator and a forecaster of new trends in performance.

The Prague Quadrennial of Performance Design and Space invites submissions for the Site Specific Performance Festival, a curated, non-competitive project that will take place in Prague, 7-15 June 2019. Proposals are accepted from performance designers, directors, choreographers, performers and artists of all career levels.

CURATOR: Sophie Jump

DATES: 
• Call Published: 30 November 2017
• Deadline for Submission: 28 February 2018
• Official Selection Announced: 15 April 2018
• 14th Edition of Prague Quadrennial: 6-16 June 2019
• Site Specific Performance Festival: 7-15 June 2019

For more information and conditions for submissions for the Site Specific Performance Festival, please, follow attached files.

Please complete attached form in English and return to call@pq.cz saved as “artistname.application.pdf” with email subject line SITE SPECIFIC. Deadline for submission is 28 February 2018. No handwritten or incomplete applications will be accepted. Carefully read the Call for Applications before filling out this form.

Bentham and the Arts

Camberwell, Chelsea, Wimbledon’s Graduate School Director and Associate Dean of Research, Professor Malcolm Quinn, is co-convening a seminar series on Bentham and the Arts.

The seminar series will consider the sceptical challenge presented by Jeremy Bentham’s hedonistic utilitarianism to the existence of the aesthetic, as represented in the oft-quoted statement that, ‘Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry. If the game of push-pin furnish more pleasure, it is more valuable than either.’ This statement is one part of a complex set of arguments on culture, taste, and utility that Bentham pursued over his lifetime, in which sensations of pleasure and pain were opposed to aesthetic sensibility.

Hosted by the Bentham Project and Faculty of Laws, University College London and the University of the Arts, London

Sponsored by UCL Faculty of Laws; UCL Bentham Project; and the International Society for Utilitarian Studies (ISUS)

Co convenors: Anthony Julius (UCL); Malcolm Quinn (UAL); Philip Schofield (UCL)

All seminars take place on Tuesday evenings, at 6.00 pm, at UCL.  All are welcome.

The seminars on 30 January, 20 February, 6 March and 20 March 2018 will take place in G10 Lecture Theatre, Chandler House, 2 Wakefield Street, London, WC1N 1PF.

The remaining seminars will take place in the Moot Court, Bentham House, Endsleigh Gardens, London, WC1H 0EG.

For abstracts of papers, please consult the full programme.

30 January 2018 BENTHAM SYMPOSIUM. Bentham’s Challenge to Aesthetics: Benjamin Bourcier (Catholic University of Lille); Malcolm Quinn (University of the Arts, London); Philip Schofield (UCL)
20 February 2018 Anthony Julius (UCL): Who was the greater champion of literature, Bentham or Mill?
6 March 2018 Stella Sandford (Kingston): ‘Envy accompanied with Antipathy’: Bentham and Freud on the Psychology of Sexual Ressentiment
20 March 2018 Tim Milnes (Edinburgh): Bentham, Romanticism, and the Arts
1 May 2018 Frances Ferguson (Chicago): Jeremy Bentham’s Expansive Aesthetics: Pushpin Too
22 May 2018 Emmanuelle de Champs (Cergy-Pointoise): Bentham and Dumont on Taste and Literature
29 May 2018 Carey Young (UCL): tbc
5 June 2018 Fran Cottell (University of the Arts London) and Marianne Mueller (Architectural Association): Pentagon Petal: from Pain to Pleasure
19 June 2018 Carolyn Shapiro (Falmouth): The Image of Bentham

For enquiries please contact Phil Baker, UCL Laws: philip.baker@ucl.ac.uk (020 3108 8480).

 

To mark the end of Lana Locke’s PhD on The feral, the art object and the
social, she will create a sprawling installation of objects, images and videos in
Chelsea College of Arts’ Cookhouse Gallery that make flesh the practice-based
nature of her research.

Here, the practice becomes entangled in an unruly relation with the space:
scratched, seeping forms evoking bodily organs, liquids and waste do not rest
within the contours of a body, but act as infectious elements, moving through the
environment, speaking to a social body uncontained by the gallery. Clay tower
blocks and burnt out metal plants germinate amongst the husks of Locke’s external
and internal installations and protests of the last four years, rejecting
gentrification, as she seeks to reclaim the social within the material.

Locke’s conception of the feral scavenges (physically, socially and
metaphorically) in the gap between defined spaces, and draws out the political
promise of the indeterminate state of being neither wild nor
civilised. Originating as a retaliation against the former British Lord Chancellor
Kenneth Clarke’s labelling of a ‘feral underclass’ in the 2011 London riots, she
seeks to unfix the feral from this uncivilised, abject position. Her practice
resists the ‘civilising’ borders of the spheres of display it interpenetrates.
However, like the feral, it does not attack the boundaries directly: it is
furtive; it must creep over, under and through the boundaries to survive.

The Cookhouse space is treated as a physical manifestation of the academic
framework of an arts PhD, and the institutional rigidity, regulation, and
political and economic pressures the practice has sought to gnaw away at when
confronted by this structure. Yet as Locke equates the temporary installation of
art objects in the space to the status of squatters passing through, the days of
her own squatting period of doctoral study have reached their end, its contingent
permissions and protection withdrawing. As her practice has poked into, picked at,
and soaked through any porosity and permeability of boundaries, inside and outside
of the rules of the University, that might allow her to leach it for a little more
supply (of workshop access, of materials, of knowledge), so must she now move on.

Yale Center for British Art Residential Scholar Awards – 2018 / 2019

Residential Scholar Awards

The Yale Center for British Art offers three types of short-term residential awards to scholars undertaking research related to British art. While in residence, scholars have access to the Center’s rich holdings of paintings, sculptures, drawings, prints, rare books, and manuscripts, as well as primary and secondary reference materials. Scholars are also able to take advantage of the extensive collections at other Yale museums and libraries. They are given a dedicated working space in the Center’s Reference Library and encouraged to participate in events and programs, as well as to engage with the scholarly community of the university.

 

Visiting Scholar Awards

These awards provide academic, museum, and independent scholars, as well as doctoral students, working in any field related to British visual and material culture an opportunity to study the Center’s collection. The closing date for the 2018/2019 award is Monday, January 08, 2018.
Apply Now.

Curatorial Scholar Awards

These awards are intended for curators who are based in museums in the UK and engaged in significant curatorial work in any field of British art. Applications from curators at municipal and regional museums are especially encouraged. The closing date for the 2018/2019 awards is Monday, January 15, 2018. 
Apply Now.

AHRC International Placement Scheme (IPS) Scholar Awards

These awards are open to early career researchers, research assistants, and doctoral students funded by the UK Arts and Humanities Research Council. Applications must be made through the AHRC. The call for applications will be announced by the AHRC in the fall of 2017. Applicants should visit the AHRC IPS website

Residential Scholar Awards Brochure

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 GreetingsIAVC@gmail.com 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.