Category Archives: Students

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 [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.

Homecoming

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)

Opening reception: Tuesday 3 October, 5-8pm

Exhibition runs 4-6 October, 12-6pm

 

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.

 

Triangle Space

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.

 

 

 

Call for Papers: Beyond Myths: Ideas, Values, and Processes in Design History

Beyond Myths: Ideas, Values, and Processes in Design History
ARCOS DESIGN
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
http://www.e-publicacoes.uerj.br/index.php/arcosdesign/index.

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
productions;
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 /
digital.

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.

Walking Between Streets in the Sky

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.

 

BAUHAUS 100: Panel Discussion

3pm – 6.30pm | Friday, 9 June 2017 Wilson Road Hall Camberwell College of Arts 1 Wilson Road SE5 8LU

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



Panel members:


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 Summer School 2017

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

Jessica Ogden: Still

31-33 Church St, London NW8 8ES

26 May – 23 June 2017 (11.00 – 18.00 Thursday, Friday, Saturday)

Private View: Thursday 25 May 2017, 18.00 – 20.00 (RSVP to [email protected])

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.

Press enquiries: [email protected] | Exhibition or workshop enquiries: [email protected]

 

First Food Residency – Chelsea College of Arts, UAL

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
group exhibition.
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
particular
‘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:

https://www.facebook.com/ firstfoodresidency/
This residency offers studio space with the University of Oaxaca, UABJO
(Universidad Autonoma Benito Juarez de Oaxaca), who will also host a final
exhibition.
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
Amaranth.
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.
APPLICATION GUIDELINES
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:
⁃ Name
⁃ Age
⁃ Address
⁃ A recent photograph
⁃ CV
⁃ 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
la Salud.

Call for Papers | MIRAJ | Transnationalism and South Asian Artists’ Moving Image

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).

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.