Banqueting Hall, Chelsea College of Arts
9.30-7pm, Thursday 24 May 2018
The Women in Conceptual Art symposium will present new research in performance, scores, film and happenings emerging from female artists’ conceptual art practices. Artists’ work to be addressed will be drawn from but not limited to the following: Christine Kozlov, Eleanor Antin, Lee Lozano, Deborah Hay, Dorothea Rockburne, Hanne Darboven, Ann Hamilton, Pip Benveniste, Carlyle Reedy, Marie Yates, Annabelle Nicolson and Anne Bean.
– A K Dolven
– Kaitlin Doyle
– Karen Di Franco
– Sophia Hao
– Lina Hermsdorf
– Rozemin Keshvani
– Irene Revell
– Amy Tobin
– Catherine Wood
Tickets: £8/6 (includes lunch and post-event drinks)
Book your place here: http://bit.ly/women-in-conceptual-art
Convened by Dr Jo Melvin and presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.
Image: A K Dolven. Stills from ‘Amazon’ 16mm film, mute, 1 min 34 (2005). Edited to the Allegro Molto of Shostakovich’s String Quartet No.8b In C Minor, Op. 110
TICKETS ARE NOW AVAILABLE
(until 1st May)
4th May 2018, 9:00-19:00
Symposium – Banqueting Hall
Exhibition/demonstration – Red Room
Chelsea College of Arts
16 John Islip Street
London SW1P 4JU
Hiroshi Onishi, Machiya of Image, 2012
Tickets £8/£6 (concession)
refreshments and lunch included
Tickets are available HERE
Drawing from the wordplay of two etymologically associated Japanese terminologies: ‘Utsuwa’ (vessel, container, receptacle, vacuum, reality) and ‘Utsushi’ (copy, transfer, possessed), this symposium raises philosophical and visual cultural questions on the conventional idea of dichotomy ‘original’ vs ‘copy’, ‘fine art’ vs ‘applied art’/’craft’, ‘seen’ vs ‘unseen’ and ‘material’ vs ‘immaterial’.
According to Inaga Shigemi who inspired this symposium with his idea of ‘“Pirates’ View” of world history’, the current rigid legal regulations and knowledge production system set by Euroamerica have been challenged by the pirate’s trade their products and access to information. However, the negativity attached to the idea of ‘copy’ also enables us to realise the positive values that can be found in the Japanese/East Asian ideas.
More Information and tickets are HERE
1.45-8PM, Wednesday 2 May 2018
Banqueting Suite, Chelsea College of Arts, 16 John Islip Street London SW1P 4JU
This afternoon symposium brings together researchers and practitioners whose work engages with the themes of Afrofuturism, Indigenous Futures, and other emerging areas of science-fictional/future-orientated cultural practice in which people of colour, indigenous cultures and non-Western subjects take centre stage.
Speculative design will be addressed in terms of its ability to raise problems, rather than solve them. As a tool for speculation, it opens up spaces for presenting problems, to model alternatives, and to generate imaginative responses. It will be explored in relation to cultural practices including art, comics and science fiction writing.
|13.30 – 14.00||Registration|
|14.00 – 14.15||Introduction to symposium proceedings
|14.20 – 15.05||Keynote
Afrofuturism: Imaginaries, Realities and Practices
Professor Julian Henriques
|15.10 – 15.55||Designing a Black Futurity
|16.00 – 16.45||Finding Fatima: An exercise in location
|16.45 – 17.15||Break|
|17.15 – 18.00||Make It So: World-building in–and out of–Cyberspace
|18.05 – 18.50||Keynote
This Is Not My Beautiful House: Reclaiming Our Futures from a Techno-Orientalist Vision
|18.50 – 20.00||Drinks|
This symposium is convened by Dr Dan Byrne-Smith, Senior Lecturer in Fine Art theory, Chelsea College of Arts and presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme.
The British Association for Victorian Studies is holding its 2018 annual conference at the University of Exeter, 29-31 August 2018 on the topic ‘Victorian Patterns’.
Pattern in the nineteenth century was a much-debated topic. The execution of repetitive forms of design became both industrialized and institutionalized thanks to new techniques of mechanized production. Everywhere the surfaces of material culture were alive with a profusion of ornamental patterns. An insatiable appetite for pattern affected the appearance of public spaces, domestic interiors, clothing and the objects of everyday life. At the same time, revolutions in science and technologies, in the global circulation of people, commodities and ideas, and in the conception and creation of new forms explored and exploited the ways in which patterns, both cultural and natural, shape and organize experience and subjectivity. Pattern was (and is) often seen as repetitive, constraining, unimaginative, and deadening, but patterns also live, energizing, structuring, and acting both within and beyond the reach of human intentionality and subjectivity. This conference will explore the life of pattern in the nineteenth century and the way in which in its contradictions, its reproducibility and its close connections with materiality and the everyday, pattern can be seen as a representative natural, aesthetic, cultural and techno-scientific mode. We invite proposals for individual papers of 15 minutes or 3-paper panel sessions, and we would particularly welcome alternative session formats designed to foster discussion or pose research problems for discussions (e.g. poster presentations, 3×5 minute position papers, roundtables or working groups, etc.) on, but not limited to, the following topics:
• Patterns in nature: temporal (geologic, seasonal), energy, physics, evolution.
• Scientific and technological patterns: mathematics, markets, engineering, textiles, city-planning.
• Patterns of imagery: language, style, and genre.
• Design and decorative patterns: arts, crafts, ornament, textiles, The House Beautiful, book design.
• Music and metrical patterns, poetics, performance.
• Global patterns: travel and circulation; settlement and empire; inheritance.
• Repetitions, replications, rhythm, habits, habitus, disruption of pattern, linearity, circularity, randomness, emergence, chaos.
• Patterns of behaviour and mood.
Please submit an individual proposal of 250-300 words or a group proposal of 1000 words to BAVS2018@exeter.ac.uk by the deadline of Tuesday 3rd of April. All proposals should include your name, email address and academic affiliation (if applicable).
See Call for papers PDF below…
This Caiana dossier invites reflection on Design based on the call for texts which, with no geographical boundaries, approaches its configuration as a disciplinary field through the study of phenomena permitting the identification of its problem areas in the twentieth and twenty-first centuries. Also, it seeks to introduce a questioning of the categories that organized cartographies based on the material conditions of production of artefacts which are today a part of the History of Design, but were created when this discipline did not exist as such.
A historiographical gaze on the constitution of Design as a disciplinary field evidences that, during the last three decades, Design theoreticians and historians intended to distance themselves from accounts legitimating and not problematizing the discipline. Inasmuch as Design consolidated itself and developed as an autonomous area with specific modalities of production of knowledge, it was more open to debating acritical assumptions and normative and prescriptive methodologies.
Design was included in political agendas with various aims in mind: with the promise of representing the space par excellence from which to transform society and the lives of people, in order to produce development and innovation in public administration and policy, with the aim of exploring possible worlds outside the context of immediate necessity although it was also considered a manipulative, deceptive, sumptuary practice. In that framework, we can claim that Design negotiated its boundaries with Art, Economy, Sociology, History, Anthropology, Communication, Geography, Architecture and the Design disciplines, among others, not only because of its constitutively interdisciplinary nature, but also because its problem areas enabled the emergence of new fields of study, such as Design Culture, Visual Culture, Material Culture, Cultural Studies, the Sociology of Culture and Graphic Culture.
This has led us to speak about Culture(s), History (ies) and more recently Economy (ies) of Design to account for the scenarios, not devoid of conflictivity, in which its various objects of study are configured in contemporaneity.
In the context of the discussion about the conditions of possibility of a global history Design, certain characterizations have been criticized which define it as a field for industrially produced artefacts, i.e. machine-made artefacts produced in series. This gaze excluded from historic accounts experiences of countries with very sophisticated Design cultures, but which did not respond to that form of production or in which other relations were hierarchically-ordered, like the pair craftsmanship-design.
Through this appeal, Caiana proposes a dossier dedicated for the first time to the history of Design. Its objective is to foreground the multiple dimensions associated to writing about Design, observing the way in which its institutionalization and its role in political, social, economic or technological visibilization and invisibilization has been problematized by theory, History and practice. Thus, there is an intention to prompt debate by means of case studies and/or the explicitation of historiographic artefacts in which design takes centre stage as an issue or as a device which is a vehicle for meanings and logics which are its own in order to affect and interact with other disciplines.
Thematic focuses (not limiting)
Historiographic perspectives of Design histories of Latin American, African and Asian countries.
Problems in the construction of a History on the specificity of design as a form of knowledge.
Europe-US-Latin America dialogs in historiographic construction.
Exchanges between Art History and design.
Construction of otherness and gender perspectives in Design histories.
History of international Design networks and organizations and their Latin American agendas.
Interaction between Art History, Design History and Technology History in the State’s identity construction.
Museum projects, collectionism and Design archives.
Transmedia Design projects and information visualization devices in curatorial scripts for Art exhibitions.
Universal and Industrial Exhibitions.
Design as mediator, facilitator or as an obstacle in the generation, circulation and dissemination of knowledge.
The call for papers for this dossier will remain open until January 20, 2018
Bear in mind that the magazine is indexed in the catalogue of the Latindex and DOAJ (Directory of Open Access Journals) information systems.
See publishing guidelines at:
Fancy a date with difference?
Difference Goes Speed Dating will be hosting a series of encounters between artists, students, academics and industry specialists engaged in lens-based media practices.
Using speed dating as a format, sixteen lucky participants will be joined by four invited artists to form randomised pairs and explore the ways they deal with the concept of difference in their practice. The aim is to survey and to attempt to tackle the issues surrounding difference, which include (and are not limited to) visual and non-visual representations of race, gender, sexuality, class, language, power and desire.
The resulting encounters will culminate in a public symposium, hosted by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme and held at Chelsea College of Arts in February 2018. Matched-up participants will present their findings and form further discussions exploring current and alternative ways of picturing difference in contemporary lens-based practices and beyond.
Given the political climate nationally and transnationally, understanding difference and challenging stereotypical perceptions around identity have become imperative. Difference Goes Speed Dating follows on from Professor Robert Storr’s rallying call to action, that “theory has its moment, but there is a time for empirical work” (TrAIN Open lecture, November 2016). This event invites dialogue between artists in creating a visual toolkit for tackling difference, in all its manifestations.
To apply to be a dater, whether student, academic, artist, or industry specialist, please complete this quick online form by Monday 30 October 2017: http://arts.ac.uk/speed-dating
You will be notified of the outcome on the week commencing 6th November 2017.
17.00 – 20.00 | 29 November 2017
Red Room, Chelsea College of Arts, London
10.00 – 18.00 | 23 February 2018
Banqueting Hall, Chelsea College of Arts, London
For more information about the workshop please contact Dr Ope Lori: email@example.com
Presented by Camberwell, Chelsea, Wimbledon Graduate School Public Programme.
This event has been curated by Dr Ope Lori. She is a lens-based artist primarily working with moving-image, interested in the politics of looking practices, race, gender and representation. She has exhibited nationally and internationally and is currently completing a book on encountering difference through the lens. Dr Ope Lori is a TrAIN Post-Doctoral Research Fellow and BA Fine Art Associate Lecturer at Chelsea College of Arts and Lecturer at Leeds Arts University.
Image: Ope Lori, Alpha and Beta (2015). © Ope Lori.
APPLICATIONS OPEN: DEADLINE MONDAY 11 SEPTEMBER 2017
This year the South London Gallery Post-Graduate Residency is an open submission six month residency opportunity available to artists completing an MA, MFA, PGDip, MRes or an equivalent programme of study (including alternative, peer organised and non-accredited programmes,) from an institution, collective or art school in the UK between October 2016 and October 2017. The residency is also being generously supported by Black Dog Publishing, allowing the recipient the opportunity to produce a publication.
Between November 2017 and May 2018, the resident will receive the following:
• rent-free accommodation and workspace in the SLG Outset Artists’ Flat;
• a £5,000 bursary to produce new work and help cover living expenses;
• monthly mentoring sessions from SLG staff and other art professionals across London;
• the opportunity to produce a publication with Black Dog Publishing;
• a solo exhibition in the SLG’s first floor galleries March 2018,
• A series of public events in response to the artist’s practice.
The residency enables the production of a new body of work and a rare opportunity for a recent graduate to exhibit within an internationally renowned institution.
To be eligible for the residency applicants must:
• have completed a postgraduate MA, MFA, PGDip, MRes or equivalent programme of study (including alternative, peer organised and non-accredited programmes,) in an arts discipline from a UK institution, collective or art school, including Ireland, Scotland and Wales;
• be a UK/EU resident or hold a valid work visa with the right to stay in the UK for the entire duration of the residency.
We are particularly interested in receiving applications from those based outside of London; in this instance support for significant travel will be offered to those invited to interview.
To apply for the South London Gallery Graduate Residency please visit http://
Applications should include:
• a completed application form (Please note that the total content of the application form, including images, must not exceed 9.5MB. We can also accept the five images via a download link, wetransfer);
• a CV listing details of education and qualifications attained and details of any recent exhibitions, commissions, awards, publications and employment – two pages maximum;
• five images, video links or audio clips of recent work.
Interviews will take place at the South London Gallery on 10-11 October 2017, if required, support for travel can be provided.
We regret we are unable respond to all applicants, if you have not heard anything by Thursday 5 October 2017 you should assume your application has been unsuccessful.
The South London Gallery Post-Graduate Residency
Supported by Black Dog Publishing www.blackdogonline.com.
Arts Council England, Southwark Council and Outset
Image: Alicia Reyes McNamara, Nowhere Else, installation view
at the South London Gallery, 2017. Courtesy Alicia Reyes
McNamara. Photo Andy Stagg
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
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: firstname.lastname@example.org . In partnership with Bauhaus Dessau and the Albers Foundation.
Camberwell, Chelsea Wimbledon Graduate School would like to invite all research active staff on 0.2 or above contract to submit proposal for a new Fellowship with the Horniman Museum and Gardens. Please find attached a brief and application form for The Horniman Museum Art, Design and Natural History Fellowship 2017-2020. This fellowship is part of an exciting new cultural partnership between Camberwell, Chelsea, Wimbledon Graduate School and The Horniman Museum and Garden Trust.
The Fellowship will focus on developing new ways the Horniman Museum can use their Natural History collections and displays to “communicate and encourage audiences to gain a deeper understanding of the global environmental changes and challenges affecting the natural world (the science, the impact and implications for us all).
To apply please download and read the brief below and fill in the application form (below). Please email your application to Abby Viner email@example.com by 5pm on Friday 16 June 2017