5th Biennial Conference of the
September 13 – 15, 2018
UCL Institute of Education
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.
Papers and artistic or live (including interactive) contributions that engage the question of the visual in teaching through a historical lens are also very welcome. Our aim is to use the conference as a platform to discuss not only the pressing issues of the contemporary, but the legacies of visual pedagogies, including how people have leveraged images to teach people “how to see the world” for centuries.
Submission: Proposals should be 250 – 500 words in length and may include supplementary material (i.e., images, videos, links). Please also include an abbreviated CV and/or a link to a professional website.
Please direct all submissions in PDF format to [email protected] by the November 30, 2017 deadline.
Organization: The conference will be organized around a series of keynote speakers, and core thematic panels with breakout sessions. We will assign the core themes based on proposals. We invite anyone interested especially in organizing a “teaching session” (i.e., a demonstration, group activity, etc.) to specify this in their proposal.
Support for speakers and contributors: The IAVC will charge a sliding scale fee for conference attendance. These details will be posted on our website in early 2018. We hope to be able to offer assistance to speakers and contributors who can demonstrate financial need.
Timeline: We will be reviewing submissions in late 2017. We expect a large pool of applications and plan to send our responses to the CFP in February 2018.
If someone told you time traveling was a possibility.
If someone told you they have done it on many occasions.
You would laugh at them, wouldn’t you?
That’s what she had said.
I go over these words in my head
now that I am sitting in the empty hotel room.
I go over these words and I think to myself: can it be true?
The ashtray still containing the ends of the cigarettes she smoked.
It’s not at all how you imagine it.
It’s not at all how you imagine it.
Image: Carrick Bell ‘Willing to Die’ 2016, video still
Text: Hannes Ribarits ‘Ashtray’, 2017, acrylic and spray-paint on canvas (170cm x 170cm)
An exhibition of works by Carrick Bell (US/DE) and Hannes Ribarits (AT/DE) including immersive installations, paintings, moving image and murals. Curated by Emma Gradin.
Chelsea College of Arts
16 John Islip St, London SW1P 4JU
Carrick Bell (b. 1981, Anchorage, AK) received his MFA from SAIC in 2008, and a BA from Hampshire College in 2004. Residencies include Ox-Bow (2009), the Wassaic Project (2016) and NARS Foundation (2017). Recent exhibitions include at Kunsthalle Exnergasse (Vienna), Charim Gallery (Vienna), LW56 (Vienna), .hbc (Berlin), Brooklyn Pavillion of the Shanghai Biennale, and BAM (Brooklyn Academy of Music). He is also co-founder and co-director of Berlin-based artist run space HORSEANDPONY Fine Arts.
Hannes Ribarits is a Berlin based artist who graduated from Central Saint Martins College, London and the University of Applied Arts, Vienna. His work has been exhibited or screened in venues such as Northern Gallery for Contemporary Art (Sunderland), HEDAH (Maastricht), Kunstbunker (Nuremberg), pinacoteca (Vienna), The Hayward Gallery (London), Liljevalchs Hubb (Stockholm) and he was selected for Bloomberg New Contemporaries (UK). Ribarits also organised the six-part exhibition series Room of Requirement, taking place in different locations in Berlin throughout 2014-15 and co-curated group shows at Ve.Sch (Vienna), Forgotten Bar (Berlin), HORSEANDPONY Fine Arts (Berlin) and Kunsthalle Exnergasse (with Vienna based curator Li Tasser).
Emma Gradin is an independent curator and research student at Chelsea College of Arts developing and deploying curatorial strategies founded on extended states of not-knowing and creative suspension in the current context of time-shortness and accelerated productivity/consumption.
Beyond Myths: Ideas, Values, and Processes in Design History
Vol 10, Número 1, April 2018
Editor: João de Souza Leite
This is a call for papers for Arcos Design magazine, Volume 10, number 1, concerning the History of Design.
Arcos Design is an academic journal in design, peer-reviewed, linked to the Graduate Program in Design of the School of Design (ESDI), State University of Rio de Janeiro, Brazil.
Created in the 1990s by members of the ESDI faculty, when design post-graduate education in Brazil began, Arcos Design persists in promoting the intersection of design studies with philosophy, sociology, economics, in order to expand the understanding of the system of production and consumption of artifacts in general. The word Arcos refers not only to the historical site where ESDI is located, in downtown of Rio de Janeiro, in front of an old aqueduct of the 18th century, but also to the bridges that it intends to establish with several areas of knowledge.
After its edition was suspended for some time, the magazine was revived in digital format in the ESDI Graduate Program in Design, available at
Call for papers
We seek contributions that allow the understanding of design outside the conventional lines of historical investigation. In this sense, approaches that deal with the insertion of observed phenomena in all types of context, as long as well characterized, are of interest. In the range of questions raised by the terms “ideas, values, and processes”, it is important to articulate reflections in the historical dimension, whether in the past or in the present time, as well as investigate processes of invention and design properly located in cultural and technological geographies.
The following topics can be addressed, though not exclusively:
1. epistemological and methodological issues about the making of history;
2. historiographic issues facing the current challenges of design – history of
ideas, history of concepts, intellectual history, among other possibilities;
3. relations between distinct cultural manifestations;
4. world history versus unique stories, clearly identified with specific contexts;
5. micro-history of design – recording and critique of culturally located
6. macro-history in design – topics;
7. gender issues in project practice;
8. identity issues in project practice;
9. particular design processes in design;
10. historical topics in technology and design – e.g. linearity / modularity, analog /
We are grateful for the submission of contributions, which will be submitted to a peer-review process, with two evaluations. In case of a tie, a third evaluation will be requested. For the first time in the history of the publication, this edition of Arcos Design will have worldwide circulation, and therefore will be edited in English.
The size and format of contributions may vary from topical observations to the presentation of graphic or photographic documentation. The work shall be conducted at the academic level, and the academic articles formatted according to specified conventions.
In 2017, Tamara Stoll and James Lander developed their shared interests in social housing in London under threat of redevelopment and the practice of walking and conversation, into a visual essay. The housing in question, Boundary Estate, Ashington House, Ocean Estate, Balfron Tower and Robin Hood Gardens is located in Tower Hamlets, East London. Tamara and James invited collaborators to five conversation-led walks between two estates at a time: Ken Worpole, Lisa Mckenzie, Nayia Yiakoumaki, Geraldine Dening, Simon Elmer and Catherine Croft. Input was sought from architecture to activism, from anthropology to art. The aim was to make connections between different experiences, perspectives and areas of expertise.
Titled ‘Walking Between Streets in the Sky’, the book maps each estate through selections from conversation transcripts accompanied by footnotes. Limited to an edition of 50 copies, each book lists the 50 recipients who were chosen for a connection between where they live or work and the content of the conversations. The Architects for Social Housing (ASH), co-founded by Dening and Elmer, included the book in their discursive week long residency at the ICA, London in Summer 2017. Walking Between Streets in the Sky is accessible at libraries in Tower Hamlets, at UAL libraries and as a pdf here.
Book design is by Bec Worth, an Australian designer with an interest in the social implications, and digressive possibilities, of walking. Bec is a participant of the MA Graphic Media Design course at London College of Communication (LCC). Tamara, an LCC alumnus, is a post-graduate photography student at the Academy of Fine Arts, Leipzig, Germany. James is a PhD candidate at Chelsea College of Arts, London. Printing was supported by the Camberwell, Chelsea and Wimbledon MPhil/PhD Student Initiative Fund.
Join us for a lively panel discussion considering the influence of the Bauhaus on art and design in the UK. We will think and work through ideas and aspects of the Bauhaus pedagogy and consider the ways in which it might relate to the contemporary practices of teaching and art making. This panel discussion follows two days of intensive workshops led by our international partners from Albers Foundation and Bauhaus Dessau. It is an opportunity for anyone interested to become involved in the first stage of a two-year research and events programme in celebration of the centenary year of the Bauhaus in 2019.
Chair: David Crow, Pro Vice-Chancellor UAL and Head of Colleges Camberwell, Chelsea, Wimbledon
Torsten Blume, Bauhaus Dessau Foundation Fritz Horstman, Albers Foundation
Jane Collins, Professor of Theatre and Performance, UAL
Daniel Sturgis, Reader and Programme Director Fine Art, Camberwell College of Arts
Tracey Waller, Course Leader BA Graphic Design, Camberwell College of Arts
The discussion takes place from 3pm – 4.30pm, followed by a drinks reception. Free and open to all. RSVP to reserve your place: [email protected] . In partnership with Bauhaus Dessau and the Albers Foundation.
Ligatus Research Centre (UAL) are pleased to announce the that registration for our Summer School is now Open.
It will be held on 25-29 September and 2-6 October in Norwich, UK, Cathedral Library
Week 1 (25-29 September): Identifying and Recording Bookbinding Structures of the Eastern Mediterranean
Tutors: Dr Athanasios Velios and Dr Georgios Boudalis
Week 2 (2-6 October): European Bookbinding, 1450-1830
Tutor: Professor Nicholas Pickwoad
For more information and registration please visit: http://www.ligatus.org.uk/summerschool/node/473
May 2017 sees the opening of an exhibition by Jessica Ogden in London. Entitled Still, it acts as an exploration of Jessica’s work through the static display of archive and current works, alongside a series of workshops. Church Street, Marylebone plays host to the experience, which was born out of a long running conversation between Jessica and Professor Carol Tulloch, writer and curator at Chelsea College of Arts, UAL, who will curate the exhibition. The space is designed by Professor Judith Clark, a London-based curator, who collaborated closely with Jessica.
Born and raised in Jamaica, Jessica began her career in fashion reusing the old to create the new. In 1992, after graduating from the Rhode Island School of Design and the Byam Shaw School of Art, she joined Oxfam’s NoLoGo project. Working with donated clothes, Jessica found herself at the forefront of what was then termed customising. The following year Ogden launched her own label using traditional stitching, hand printing and layering techniques and often appropriating old garments such as quilts. Soon after the label’s launch, Ogden staged catwalk shows and presentations as part of London Fashion Week from 1996-2006. Her work continued with cult French label A.P.C., with whom after moving to Paris, she deepened her work to include a line of quilts made from archive A.P.C. fabrics, another example of her continuing obsession with repurposing in fashion.
In 2016 Jessica made the decision to return to live in Jamaica, taking over the running of Harmony Hall, her mother’s gallery which champions local Jamaican art, alongside continuing her fashion projects. Perhaps it was this move that offered Jessica the perspective to look back on her journey thus far. A large theme running through all of Jessica’s work is story telling. In the same way, the exhibition will act as an autobiographical study through the selection and display of pivotal work. Alongside this, Jessica will hold free workshops for the visitors to the exhibition, which in themselves will provide insight and inspiration into her unique practice. Workshops will include free hemming and customisation, amongst other activities. Three workshops will be led by Ogden and places are limited.
To illustrate and further explain the exhibition Jessica and Carol have worked on a publication with accompanying imagery by Syd Shelton and text by Tamsin Blanchard.
Jessica Ogden: Still has been curated by Professor Carol Tulloch and is a Camberwell, Chelsea, Wimbledon Graduate School project.
July 3rd to August 21st 2017
Deadline for submission of proposals 10am, 17th April 2017
The First Food Residency 2017 invites proposals from MA students, PhD
candidates or Alumni of Chelsea College of Arts, UAL. Two Artists will be selected
to take part in a creative research residency in Oaxaca, Mexico, culminating in a
Research should be based around material relevant to sustainability (particularly in
the production of food and craft) in Mexico. Inspiration can be taken loosely from a
broad range of subjects such as social history, the future of GM and mono crop
systems, branding, foods that are unfamiliar in the UK but indigenous to Mexico,
e.g. Cactus/Maize etc. A suggested focus for this year will be around cacti and in
‘Nopal’ and its inherent relationship with the cochineal beetle. For ideas and
examples of the kind of work that has been done before, please see the link to
previous exhibitions at www.firstfoodresidency.com or the Facebook page:
This residency offers studio space with the University of Oaxaca, UABJO
(Universidad Autonoma Benito Juarez de Oaxaca), who will also host a final
During their stay in Mexico, the student will have the opportunity to access facilities
through UABJO for technical support, and additional assistance through First Food
for research and practical information.
Specific research is supported by First Foods who will help achieve the ambition of
a successful individual proposal. Trips are organised to villages that are known for
specialist craft activities, a cochineal farm, Mescal distilleries and areas of
agricultural interest, to meet farmers and growers. The residency has a relationship
with Puente de la Salud, a respected charity who specialise in the promotion of
Co – founders of the project, Anna and Antonia Bruce will oversee the residency
alongside previous First Food residents who will be engaged to support the artists
in residence for research and social activities. There will be regular documentation
of the work produced as a record of activities.
This residency in Mexico is open to all interpretations. However, there must be a
visual expression to the completed work that can be included in a ‘pop up’
exhibition at the end of the residency, and be called upon for future exhibitions with
the First Food Residency.
Proposals must be sent as PDFs to the following address by 10am on the 17th
April 2017: [email protected]
In the proposal the following information should be included:
⁃ A recent photograph
⁃ Biography (100 to 200 words)
⁃ Details of exhibitions and / or artistic works published
⁃ Three examples of works, including images, date of completion and dimensions.
⁃ In case of a performance artist, please include links to pictures or videos.
⁃ Objectives and creative intent (300-500 words)
⁃ A work schedule, describing in detail how you will use the time to carry the
investigation and completion of the work.
⁃ description of the type of space required to work and the necessary materials. ⁃
Description of other requests for funding (if any)
⁃ A letter of recommendation from an art institution or a recognised artist, which can
be both UK or Mexico.
⁃ Spanish level: Advanced / Intermediate / Basic / Non-existent
With the support of UABJO, First Food Residency is able to offer workspace
and facilitation of research. Chelsea, UAL will organise flights and provide a
stipend for the stay.
For more information contact us on email: [email protected]
During their stay in Mexico, the artists in residence will have the opportunity to
access facilities through UABJO, technical support and additional facilitation
through First Food to source materials and contacts outside of UABJO.
Facilities include sculpture and printing workshops, photography and digital
workshops. For textile students, relationships have been built with the weaving
villages who can offer access to looms and help with materials. The residency
also offers communication with and visits to farms through local charity Puente de
Moving Image Review & Art Journal | Issue 7:2
Transnationalism and South Asian Artists’ Moving Image
Call for Papers | Deadline: 1 March 2017
This issue will be guest edited by Rashmi Sawhney and Lucia King.
The uncontestably global ecologies of contemporary moving image art have invited some deliberation on questions of regional aesthetics, identity, circulation and transnationalism. Yet such discussions have mainly taken place in the context of exhibiting ‘non-western’ art in the western world. Contradictions still persist in the project of destabilizing assumed hierarchies within the Euro-American art world (in the most recent Documenta XI and Venice Biennale, for example) whilst artists of the global South gain currency primarily by meeting the expectations of ‘western’ art markets. Furthermore, Euro-American art historical discourse remains negligent of film and video art’s legacies from the South, including experimental film and screen-based arts. As a consequence, moving image art by ‘non-western’ artists is either caged into essentialist frameworks founded on mythical notions of ‘authenticity’, or stirred into the melting pot of contemporary art without due attention to their particular cultural and aesthetic contexts. This MIRAJ issue, therefore, engages with the particularities of film and video art practices from South Asia, and leverages these in theorising the relationship between regional, global and transnational moving image cultures.
To address some of these gaps in scholarship, this special edition of MIRAJ focuses on the circuits of production, exhibition and authoring of South Asian artists moving image in order to chart key theoretical terrains of ‘regional’ practices in a global context. We solicit articles from artists, critics and curators who work within and outside South Asia, that highlight conceptual frameworks and offer insights on the multi-layered relationships between ‘home and the world’, region and identity, aesthetics and translatability, cultural specificities and contexts of classification/consumption/circulation. We invite articles that build upon foundational work in South Asian moving image art and film histories as well as transnational art practices and aesthetics.
We are particularly interested in articles that address the following:
• Theories of film and video art outside of the ‘national’ framework that are attentive to influences, collaborations and exchanges across geographic and political regions.
• Examples of significant regional exchanges and collaborations between artists and filmmakers from India, Pakistan, Bangladesh and Sri Lanka.
• The relationship between region, identity and moving image practice in South Asia.
• The aesthetic pre-cursors (in a pre-cinematic sense) that influence contemporary moving image art in the region, including investigations of artist(s)’ methodologies.
• Experiments in film and video art that emphasise ‘indigenous forms’.
• Transnational curatorial practices that work with and around the regional/national framework.
• Historicising South Asian moving image art in the post-medium context.
• Spectatorship and post medium/ multi-media art in/from South Asia.
• South Asian artists’ moving image engagement with science, political activism, environmentalism, urbanism etc.
• South Asian artists’ moving image hybridity with alternate media genres, such as experimental film, documentary, and digital media.
• Digital media and the exhibition and distribution of ‘regional’ moving image art.
• Digital archives and curatorial practices in/about South Asian film & video art.
We publish the following types of writing: scholarly articles (5000-7000 words); opinion pieces, feature articles and interviews (3000-5000 words); review essays of books, individual works, exhibitions and events (3000-5000 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.
Please submit completed manuscripts only.
Send all contributions by e-mail in Word format to the Editorial Assistant: [email protected].
Deadline for completed articles: 1 March 2017
Image: Prisms of perception, (2010) Artist: Gigi Scaria. Medium: Video installation. (Image courtesy of the artist).