SYMPOSIUM: Speculative Design: Afrofuturist and indigenous projections

 

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.

SCHEDULE

13.30 – 14.00 Registration
14.00 – 14.15 Introduction to symposium proceedings

Dan Byrne-Smith

14.20 – 15.05 Keynote

Afrofuturism: Imaginaries, Realities and Practices

Professor Julian Henriques

15.10 – 15.55 Designing a Black Futurity

Florence Okoye

16.00 – 16.45 Finding Fatima: An exercise in location

Natascha Nanji

16.45 – 17.15 Break
17.15 – 18.00 Make It So: World-building in–and out of–Cyberspace

Skawennati

18.05 – 18.50 Keynote

This Is Not My Beautiful House: Reclaiming Our Futures from a Techno-Orientalist Vision

Kelly Kanayama

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.

Book Tickets

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

Yve-Alain Bois’ “Painting as Model” which was Published 1993 is still cited as being an extremely important collection of essays that looks at painting as being a conceptual and material enquiry. Bois believes that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality.

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

Abstract Submissions

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

PQ 2019 | Site Specific Performance Festival Open Call

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

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

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

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

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

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

CURATOR: Sophie Jump

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

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

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

Bentham and the Arts

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

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

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

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

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

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

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

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

For abstracts of papers, please consult the full programme.

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

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

Call for Papers: Victorian Patterns

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…

BAVS 2018 CFP small

 

Annabel Dover | The Dream Lives of Objects | 24 Jan 2018

Artist Annabel Dover will talk about her residency at the British School at Athens and our multivalent relationship to objects.

24th January 2018 | Lecture Theatre, Chelsea College of Arts

6pm-8pm

Images – C-type prints – City Plaza Hotel, Series I, II, III, IV, V

For my residency at the British School at Athens I looked at Athens through the prism of personal narratives. When I was 13, my father already gone, my mother left home to live in Athens. She never returned. My research at the British School at Athens focused on the Finlay Museum whilst retracing my mother’s steps in Athens, according to her letters; making drawings, paintings and three-dimensional objects that respond to the leftover human traces I found in these areas. The designer Phillipe Stark remarked that to understand a city you must first look in its rubbish bins. In a series of three-dimensional works, I used the crumbs of gold leaf I found outside the Hotel des Anglais, Syntagma Square, leftover by the hotel’s recent ironwork gilding. I made everyday objects akin to the dice, coins and shells found in the Ancient Athenian Agora Museum, out of Jesmonite and then gilded them with the found gold leaf. I scattered these in the Ancient Agora and photographed them in situ. I made watercolours that take their glittering translucent appearance from a small rock I found in the Ancient Agora. A jeweller in the Plaka, skilled in the art of Lapis Lazuli carving, ground it down for me and I have added it to gum Arabic (from The Acacia Senegal tree, from the Sudan). The Ancient Agora seems so alive with Tortoises, Hoopoes, Swallows and plants that I wanted some of this organic life to become part of my document of Athens. These scraps of the recent past are then woven together to form a new narrative

My chief research focus whilst at the British School at Athens engaged with the school’s research theme of ‘building the archive’. My PhD research focused on presenting an alternative taxonomy. My study of the early photographer Anna Atkins looked at the specimens she presents less as conclusive evidence, more reflecting on them as a starting point to explore her biography. Whilst in Athens I documented accidental artefacts left behind by the people who catalogued the Finlay Museum; items such as an airmail envelope with notes on, or discarded pieces of paper with the item numbers of the potsherds in the collection. I made paintings and drawings of these artefacts alongside the displayed artefacts of the Finlay Museum and presented these works in a loose-leaf album.

I volunteered at City Plaza Hotel, a hotel that went bankrupt in the crash of 2007, now a refugee hostel. I photographed groups of objects belonging to the residents of the hostel: bags of earth brought from their home countries, rose petals they collected and sometimes I collected for them that their mothers put in their bras to make them smell nice, oranges they picked from the trees that grow on the streets of Athens that they ate. Cigar ends that belonged to the rich men of Athens that they dreamt of being. Lucky charms Greek people they met had given to them when they were ill and the toys that became dirty on their long journey to Greece.

My time at the BSA provided me with an overwhelming amount of material that will continue to influence my work in the future. I would particularly like to focus on the wildlife of the Ancient Agora site. I have used humane moth traps in the past and I would be very interested in documenting the moths of the Ancient Athenian Agora, as a metaphor for the life of the city returning after dark. Among the other areas of research, I encountered at the BSA, that I am very interested to follow are: archeological squeezes and the indexical parallels they have with the cyanotype, the works of Piet de Jong and Alice Lidsell’s botanical notebook who was resident at the BSA 1930-31 and whose watercolours are now housed by Newnham College, Cambridge.

 

GRADUATE SCHOOL PUBLIC PROGRAMME | 2017-2018 | SPRING TERM

CAMBERWELL, CHELSEA, WIMBEDON GRADUATE SCHOOL

PUBLIC PROGRAMME 2017-2018 | SPRING TERM


SYMPOSIUM

Shame on You: Theorising shame, pride and community in contemporary culture

Photograph by Christa Holka.

10.00 – 19.00 Friday, 09 February 2018, 

Banqueting Hall, Chelsea College of Arts 16 John Islip Street, London SW1P 4JU

 Recent advances in ‘equality’ have seen an explosion of pride within the LGBT community but what has been gained and what has been lost by insisting that we are proud to be gay?
In this day-long symposium we will cast light on contemporary manifestations of the relations between shame and stigma, exposure, conformity and power.

This event is convened by Jordan McKenzie, Associate Lecturer, BA Drawing

Camberwell College of Arts, and Akosua Bonsu (Fringe Centre, UCL).

Booking essential:

http://bit.ly/shame-on-you-symposium


SYMPOSIUM

Encountering Difference  

Image: Akiko Takizawa, Shadows on the Hill (2009, date printed: 2013). Collotype on Japanese Washi Paper. Courtesy of the artist.        

10.00 – 18.00 Friday, 23 February 2018

Lecture Theatre, Camberwell College of Arts, 45-65 Peckham Road, London SE5 8UF

Focusing on themes of identity, the visual and non-visual representations of race, gender, sexuality, class, language, power, desire and aesthetics, this one-day symposium, will present the findings from the Difference Goes Speed Dating event, which hosted a series of encounters between artists, students, academics and industry specialists engaged in lens-based media practices. We will discuss current and alternative ways of picturing difference in contemporary lens-based practices and beyond.

This event is convened by Dr Ope Lori, TrAIN Post-Doctoral Research Fellow and BA Fine Art Associate Lecturer at Chelsea College of Arts.

Booking essential:

http://bit.ly/encounterdifference


WORKSHOP

Adaptation, Re-make, Risk-taking: Creative intervention in contemporary theatre and performance

Image courtesy: Blind Dinner Date, ZU-UK. http://zu-uk.com/

10.00 – 17.00 Saturday, 03 March 2018

Wimbledon Theatre Space, Wimbledon College of Arts, Merton Hall Road, London SW19 3QA

Adaptation, Re-make, Risk-taking aims to take a fresh look at the reinterpretation of pre-existing sources in contemporary performance, and situates radical intervention as an innovative and risk-taking form of adaptation for the stage.

This event is convened by Dr Jozefina Komporaly, Lecturer in Theatre and Screen Studies at Wimbledon College of Arts.

Very limited amount of tickets available.
Early booking recommended:

http://bit.ly/ZUUK-UAL


AFTERNOON SYMPOSIUM

Speculative Design: Afrofuturist and indigenous projections

Image: Elizabeth La Pensee, She Carries the Water. Courtesy of the artist.

14.00 – 20.00 Friday, 09 March 2018

Banqueting Hall, 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.

This event is convened by Dr Dan Smith, Senior Lecturer in Fine Art Theory, Chelsea College of Arts.

Booking essential:

http://bit.ly/speculative-design

 

 

 

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

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

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

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

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

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

Residential Scholar Awards

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

 

Visiting Scholar Awards

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

Curatorial Scholar Awards

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

AHRC International Placement Scheme (IPS) Scholar Awards

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

Residential Scholar Awards Brochure