Category Archives: Uncategorized

Call for Papers | Dossier: Cartographies of Design: Stories, Projects, Agendas

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:

 

 

http://caiana.caia.org.ar/template/caiana.php?pag=../static/normas.php

CALL FOR ENTRIES | Difference Goes Speed Dating

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.

 

Speed Dating

17.00 20.00 | 29 November 2017

Red Room, Chelsea College of Arts, London

 


Symposium

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 protected]

Presented by Camberwell, Chelsea, Wimbledon Graduate School Public Programme.

Ope Lori

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.

The South London Post-Graduate Residency 17/18: Open Call

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.

CRITERIA
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


To apply for the South London Gallery Graduate Residency please visit http://southlondongallery.org/jobs-opportunities/

or call the gallery for more information, 02077036120. Completed applications should be sent to [email protected]dongallery.org by Monday 11 September 2017 at 12noon. Applications received after this time will not be considered.

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.

 The South London Gallery receives ongoing support from:
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

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.

Horniman Museum Art, Design and Natural History Fellowship 2017-2020

Fellowship Opportunity

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 protected]  by 5pm on Friday 16 June 2017

Application Form…

The Horniman Museum Fellowship application form 2017  Horniman Museum Fellowship brief 2017

Brief…

Horniman Museum Fellowship brief 2017

Bletchley Park Week

5 June – 10 June

From code-breaking to cyber security

Kellogg will celebrate its strong and growing ties with Bletchley Park with a week-long programme of events from 5 to 10 June 2017. Scroll down for an overview of the week and please keep checking back for further details.

Bletchley Park was the home of wartime code-breaking, as featured in The Imitation Game, a 2014 film in which Benedict Cumberbatch portrayed the mathematician Alan Turing and his efforts to crack the German Enigma code. There will be something for everyone, including a visit by one of the Enigma machines from Bletchley; access to the ‘roll of honour’ where the database can be searched for those who worked there; a poster competition to describe relevant research, the winners of which will get to display their posters at Bletchley and explain the research to the many thousands of visitors; the first of what we intend to be an annual Kellogg coach trip to Bletchley, with guided tours; and two themed Guest Night Dinners.

This Has NOT Been Cancelled

John Latham audio/visuals & conversations

2 May 5.30-8pm, Banqueting Hall, Chelsea College of Arts

 

A rare lecture recording and films by John Latham form the starting point for three conversations around the themes Not Knowing, Flat Time (House), and the Artist Placement Group/the artist as Incidental Person by invited artists, writers and curators including Gill Addison, Gareth Bell-Jones, Paul Clinton, Katherine Jackson, William Kherbek and Jo Melvin.

<< All welcome, no need to book! >>

Gill Addison is an artist and academic based in London. Her recent projects negotiated ‘how’ and ‘where’ research manifest as an activity, event, and material within artist film and video practices and histories.

Gareth Bell-Jones is a curator and writer, currently curator/director of Flat Time House. From 2010-14 he was a curator at Wysing Arts Centre, Cambridge and a regular visiting tutor to the RCA, Curating Contemporary Art Department.

Paul Clinton is a writer based in London. He is associate editor of frieze and Frieze Masters Magazine. In 2015 he co-curated the exhibition ‘duh? Art & Stupidity’ at Focal Point Gallery, Southend-on-Sea.

Katherine Jackson is a PhD candidate at the University of British Columbia and currently a visiting researcher at the Slade School of Fine Art. Her dissertation research focuses on the Artist Placement Group and John Latham in 1970s UK. She has worked as Flat Time House’s archive and research specialist since 2015.

William Kherbek is the writer of the novels Ecology of Secrets and ULTRALIFE (Arcadia Missa, 2013/2016) and the epic poem, Pull Factor (2016). The video-poem collection Ephemera was posted work by work to Youtube in 2014. His essay “Technofeudalism and the Tragedy of the Commons” (2016) appeared in the first issue of Doggerland’s journal, and he has contributed essays to the “Intersubjectivity” series from Sternberg Press.

Jo Melvin is a Reader in Fine Art, Archives and Special Collections at Chelsea College of Arts; a curator of projects including an ongoing collaboration with the performance collective JocJonJosh, ‘Five Issues of Studio International’ at Raven Row; and a writer of essays including “The Xerox Book” for Paula Cooper Gallery (New York) and “British Art and Conceptualism 1966-1979” for Tate Britain.

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.

This Has NOT Been Cancelled was made possible by the UAL: Camberwell, Chelsea, Wimbledon Graduate School Student Initiative Fund.

Chelsea College of Arts Banqueting Hall, Tuesday 2 May 5.30-8pm

Sigune Hamann | Heimlich and Freshers (Re-lation) @ Ashmolean

Heimlich and Freshers (Re-lation)

Photographic installations by Sigune Hamann Free display, Gallery 51

Throughout the week, photographic work by artist Sigune Hamann, Reader in Art and Media Practice at the University of the Arts, London will be on display in the Museum. In Gallery 51 on the second floor, her series of landscape photographs ‘Heimlich’ hangs alongside the Ashmolean’s collection of small oil landscapes. On the Chantrey Stairs, between the ground floor and the second floor, are images from her current collaboration with the Department of Experimental Psychology at the University of Oxford, ‘Freshers (Re-lation)’.

Wednesday 15 March

Looking and perceiving in the Ashmolean With Sigune Hamann, artist 11am – 1pm, meet in Gallery 21 at 10.50am Artist Sigune Hamann leads a walking conversation through the Ashmolean’s paintings collection and her own photographic work, temporarily installed in the galleries, addressing questions of how and what we see, and the ways in which our perception of images can be transformed according to how we look at them. This event is limited to 12 participants. Booking essential. https://tickets.ox.ac.uk/WebStore/shop/ViewItems.aspx?CG=ash&C=SpecEvents

other way round

other way round

7 – 9 March | Triangle Space, Chelsea College of Arts

an exhibition by new PhD Students

other way round can mean many things: is it that we have gone the wrong way and should recalculate our itinerary? Or that we are on our way to totally uncharted territory? In this case, we are attempting to make visible diverse approaches to practice-based research. This 1st year PhD students’ exhibition brings together samples of research practice from very different fields, and tries to grow conversations from them. Spanning over fine arts, design and curating, the confrontation of this diverse work in one common space aims to create meaning from these impromptu interactions. By crystallising our ongoing practice at an arbitrary moment in
the PhD journey, we hope to offer a view of the research process and learn from it, as much as we hope to provide food for thought.

Event Programme

Tuesday 7th March 

12-6pm

Neil Farnan

Monopoly to Utopoly – a utopian exchange
The board game Monopoly encapsulates key features
of our economy and celebrates some of its worst
aspects.
This ubiquitous game normalises socially useless
rentier behaviour, although the intention of the original
version was to do the opposite.
Join us in evaluating this particular economic
model and engage with new values, properties and
currencies to design a more utopian economy.
Or pop in later to have fun playing the redesigned
Utopoly game.

Wednesday 8th March

12-3pm
Ana Teles
Copying, transcribing, mimicking, repeating
artists’ paintings
During the period of the exhibition, Ana T. will be
engaging in conversations with artists negotiating her
approach to the copying of their work.

4-6pm
Emma Gradin
Slow Work
What is time? What is worth taking time over? An open
conversation with a group of people including artists,
activists, anthropologists.

Thursday 9th March

12-3pm
Laetitia Forst
Textiles for Disassembly
Design for disassembly exists in everyday products
so as to allow for easy recycling. The visitors are
invited to reflect on how it can be applied to their own
consumption habits and influence their perception of
materials.

3-6pm
Timothy Smith
Sound/Memory/Landscape
An audiovisual dialogue.

6-8pm
Closing reception

All exhibits will be on display 7-9th March 12-6pm. If you wish to attend scheduled events, please refer to this programme.

 

Call for Papers – Robot Futures: Vision and Touch in Robotics symposium

 

This one-day symposium, to take place at the Science Museum, London, on 8th July 2017, will bring together engineers, scientists, cultural theorists and artists to explore notions of embodiment and telepresence in the field of robotics and in virtual and augmented realities.

Humans are embodied in robotic explorers; endowing them with ‘eyes and hands’ robots are able to relate perceptions and experiences of places and objects physically unavailable to us. Although such robots might not ‘look’ human, it is the desire to see stereoscopically, and to feel through all the senses that grant robots anthropomorphic qualities; we see and feel through the robot. In this way robots enable a more embodied experience, which is nonetheless mediated. The development of virtual reality technologies is increasingly enabling us to see and feel as the robot in order to get closer to a more immersive experience.

We invite established and emerging researchers to submit abstracts for paper presentations that address notions of embodiment, telepresence, vision and touch specifically regarding robotics and virtual and augmented realities. We welcome proposals from the arts & humanities and the sciences, particularly from researchers whose work spans both fields.

Please email Luci Eldridge and Nina Trivedi at [email protected] with paper proposals, of 500 words max, by 9pm on Friday 3rd March 2017. Please include a one-page CV with your paper proposal. Feel free to email us with any questions.

Deadline for submissions – Friday 3rd March 2017

Email: [email protected]