Archive for the ‘Audience’ category

Academic Workload Planner (AWP)

Academic Workload Planner

We would like to remind staff that support for the UAL-wide Academic Workload Planner (AWP) is available on the Human Resources intranet site.

The AWP page includes:

·         The Academic Workload Planner

·         Academic Workload Planner: Guidance Notes

·         A tutorial Video

The overriding purpose of the AWP Planner is to seek equitable academic workloads across the University and ensure that all aspects of academic contribution are appropriately recognised. AWP is a simple MS Excel tool designed for simplicity and ease of use. It has been agreed with UCU and is available for use on a voluntary basis to aid discussions about planning and workload as part of the PRA / mid year review processes. Further details about this can be obtained from your Dean or from Human Resources.

John Hallam
Acting Human Resources Director

Invitation to staff with dyslexia from Natalie Brett

Take a look at Natalie Brett’s animated message to staff with dyslexia created with London College of Communication’s current MA Illustration and Visual Media students. As part of the Valuing Disabled Colleagues’ programme, Natalie, UAL’s Disability Champion, invites staff with dyslexia to lunch and talk from 1pm on Wednesday 21 January 2015.

View Natalie’s animated message on the intranet and book your place by contacting Nina Rahel (n.rahel@arts.ac.uk or x9864).
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Christmas closure 2014

On Wednesday 24 December, University buildings will open at their usual time. On 24 December all staff are asked to leave University buildings no later than 5pm. when Facilities staff will start locking up the premises. UAL sites will open again as normal on Monday 5 January 2015.

If you have any queries about the closure of buildings, please contact Sally McNally on 07841 569021. Please contact your manager over any queries about leave over the Christmas period

6 surprising facts about 2001: A Space Odyssey

Forty six years after it’s original release, Stanley Kubrick’s sci-fi epic 2001: A Space Odyssey is back on UK cinema screens thanks to the BFI and Warner Brothers. Now an icon of cinematic history, the development of the film in the late 1960s was incredibly fluid, as University of the Arts London’s Stanley Kubrick Archive attests. Hundreds of fascinating items in the Archive reveal the multiple alternative directions the film almost took, many of them radically different from the final decisions which ultimately made it a classic film. The Archive’s Richard Daniels shares six surprising facts about 2001: A Space Odyssey.
Stanley Kubrick on the set of 2001: A Space Odyssey from the Stanley Kubrick Archive  with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

1. The film began life with a different title – the Archives show the film referred to as Journey Beyond The Stars – and the computer wasn’t initially intended to turn homicidal. In the July 1965 script, known as the ‘Athena text’, the Jupiter mission is marred by technical problems and the astronauts die, however Kubrick realised this provided no antagonist and little character development, so he came up with the idea that the computer would know the true objective of the mission whilst the astronauts did not. The burden of carrying the secret interferes with the computers functioning so it starts to make mistakes and covers up its mistakes, eventually leading it on a path to murder. The computer was originally referred to as ‘Athena’ – HAL was a name given to the computer in a later script once this new story had developed.

Stanley Kubrick on the set of 2001: A Space Odyssey from the Stanley Kubrick Archive with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

2. Perhaps the most distinctive element of the film, the slow, silent opening sequence was originally set to be completely different. In contrast to the iconic final version, Kubrick once envisioned the film beginning with the voices of contemporary scientists and theologians discussing the possibilities of extra-terrestrial life, the future of artificial intelligence, the beginnings of life on Earth, the development of the human race and the possibility that the human race may have been visited by extra-terrestrials in the past. An entire score was originally commissioned for the film from composer Alex North, however during the post-production stages Kubrick decided to switch to the classical music that appear in the final film.

Model for 2001: A Space Odyssey from the Stanley Kubrick Archive with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

3. The film’s phenomenal technological prescience  was informed by insight from cutting-edge futurists from the leading corporations of the time, an intriguing parallel with Interstellar’s release this year. The film’s depiction of artificial intelligence, modern computing, spacecraft and even digital publications, came from consulting with technology and manufacturing firms on how they envisaged the future.

Transparency from 2001: A Space Odyssey from the Stanley Kubrick Archive  with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

4.  Kubrick created these convincing visions of the future through experimental set designs, which drew visitors from NASA as they prepared for the moon landings the following year.

Sketch for set design from 2001: A Space Odyssey from the Stanley Kubrick Archive  with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

5. Written in collaboration with Arthur C. Clarke, drafts in the Archive reveal that the film went through several radically different plotlines; in the ‘Athena text’ the 2001 story begins with nuclear warheads orbiting earth: “we see a thousand megatron nuclear bombs in orbit above the earth, the Russian star and CCCP inscribed.” The hundreds of bombs were “capable of incinerating the entire earth’s surface from an altitude of 100 miles.” The script refers to a ‘nuclear club’ made up of 27 nations, although states that no weapons had been used since WW2. As referenced in Peter Kramer’s BFI Classics publication on 2001, Arthur C Clarke’s early letters to Kubrick show that he envisioned the film beginning in the near future with a sunrise on the moon and the discovery by a lunar ‘survey team’ of something highly unusual, leading to ‘the sentinel’ in which a geologist investigates extra-terrestrial civilisations and a discussion of human interaction with them.

Stanley Kubrick on set with cast from 2001: A Space Odyssey from the Stanley Kubrick Archive  with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

6.  Scripts in the Archive reveal that the initial vision saw the inclusion of a narrator throughout what was ultimately a largely silent film.

And to end, one intriguing rumour on why 2001: A Space Odyssey wasn’t nominated for the Best Costume Award at the 41st Academy Awards, while Planet of the Apes did receive a nomination: Richard says, “the rumour was that the judges were apparently convinced that the apes in 2001′s opening scenes were all real.”

2001: A Space Odyssey ape mask  from the Stanley Kubrick Archive  with thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London

Radio 4′s The Film Programme recorded a feature at UAL’s Special Collections and Archives Centre this month, which includes  Richard Daniels talking about 2001: A Space Odyssey. The programme is available on the BBC iPlayer.

Read more about the Stanley Kubrick Archive at the University Archives and Special Collections Centre on the UAL website

Listen to the Film Programme on the BBC iPlayer

Subscribe to UAL Edit’s free e-zine to have features delivered to your inbox on the sign up page

With thanks to the SK Film Archives LLC, Warner Bros. and University of the Arts London for the use of images within this article.

 

LCC Postgraduate Shows 14 // Spotlight on MA Graphic Design and MA Graphic Moving Image

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‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

Our School of Design Postgraduate Show opens officially with a Private View on Tuesday 9 December from 6-9pm. To celebrate, here’s the last in our preview series, putting a spotlight on two courses with really exciting work on display.

This year MA Graphic Design students have been inspired by a diverse range of subjects from pornography to pedagogy, and their work explores the many facets of the design process from in-depth research to experimentation.

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‘Blink’, James Buell, 2014.

Students exhibiting this year include James Buell, whose project ‘Blink’ takes a sideways look at the future of the news. ‘Blink’, a bold electronic product, caters to a future customer so addicted to headlines and gossip that truth and accuracy carry little importance.

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‘Blink’, James Buell, 2014.

This random headline generator, with an inbuilt algorithm, sources key words and phrases from a wide variety of online platforms and merges them together. Future headlines include ‘Taylor Swift Detained after Shooting in Ottawa’ and ‘Boris Johnson Beheaded by Ed Miliband’.

Cleber De Campos presents ‘Skim Scan Read Copy / Rec. Live’, a project that investigates the process of mutual influence that newer and older media have over each other.

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‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

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‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

The end result is a hyper-mediated zine that discusses contemporary subjects such as surveillance, information overload, life-editing and copy.

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‘Skim Scan Read Copy / Rec. Live’, Cleber De Campos, 2014.

MA Graphic Moving Image students have explored a broad range of screen-based communication designs throughout their studies, from traditional moving image such as animation, documentary, narrative shorts and broadcast design to web content, projection and video mapping.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

‘The Hadron and the Higgs Installation’, a piece by Kalai Yung, aims to explain the concept behind the Hadron Collider experiment and the Higgs Boson at CERN. Driven by a desire to simplify complex ideas, Kalai’s work investigates how effective video mapping can be.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

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‘The Hadron and the Higgs Installation’, Kalai Yung, 2014.

Yang Guo has used his own experience of suffering from air pollution in China in 2013 to produce ‘Stop Repeating’, an animated film that promotes engagement with environmental causes. Drawing parallels between the ‘Great Smog’ of London in 1952 that killed 12,000 people and China’s current air pollution crisis.

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‘Stop Repeating’, Yang Guo, 2014.

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‘Stop Repeating’, Yang Guo, 2014.

Come along to the huge School of Design show to see this and much more work by our talented graduating students!

School of Design: MA Contemporary Typographic Media, MA Graphic Branding and Identity, MA Graphic Design, MA Graphic Moving Image, MDes Service Design Innovation, PGCert/PGDip Design for Visual Communication
Exhibition open: Monday 8 – Saturday 13 December
Private View: Tuesday 9 December 6-9pm
RSVP for Private View
Late night opening: Thursday 11 December until 9pm

Read more about MA Graphic Design

Read more about MA Graphic Moving Image

The post LCC Postgraduate Shows 14 // Spotlight on MA Graphic Design and MA Graphic Moving Image appeared first on London College of Communication Blog.

LCC Postgraduate Shows 14 // Spotlight on MDes Service Design Innovation and PGDip/Cert Design for Visual Communication

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Emma Collum, 2014.

In the latest preview of next week’s School of Design Postgraduate Show, we take a look at what’s in store from three more exhibiting courses.

MDes Service Design Innovation looks at design from a strategic perspective, working with different disciplines and exploring research methods and processes for service design sectors.

In a unique interdisciplinary course, students develop and apply their design thinking to a range of societal and business challenges.

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Natira Wongpaitoon, 2014.

Natira Wongpaitoon’s project aims to raise awareness of Thailand’s community-based tourism (CBT), which aims to include and benefit local people.

CBT introduces travellers to traditional cultures and customs, with part of the tourism income set aside for projects which benefit the community as a whole.

The goal is to boost tourism by collaborating with Localalike, a start-up positioned between communities and visitors.

Natira has researched Localalike’s strengths and weaknesses and investigated customers’ behaviour in relation to technology and tourism.

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Thais Maio, 2014.

Thais Maio has looked at urban mobility in Bristol, prompted by the difficulty and frustration caused by heavy traffic, infrequent and confusing public transport services and hilly terrain.

The project proposes a better service from the city’s buses, not only making life easier for current users but improving perceptions of the service by the general public, potentially attracting new travellers and reducing traffic.

Thais explains: “Good public transport is a crucial factor in permitting democratic access to city spaces, as vulnerable groups can become isolated if they don’t have access to affordable and good quality public transport.

“Increasing bus usage also can attract more investment to the network, connecting more people and changing the way some groups relate to the city.”

Postgraduate Certificate and Diploma Design for Visual Communication students gain practical skills and expand their knowledge of design principles, historical and contemporary contexts, research methodologies and theory with both the part-time Postgraduate Certificate and full-time Postgraduate Diploma.

The programme explores visual language, typography, colour and information design through set and self-initiated projects.

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Emma Collum, 2014.

Emma Collum’s work involves mixing traditional techniques such as letterpress and linocut printing with digital elements. In her major project, she redesigns a charity shop, challenging why charities spend huge sums on other campaigns  but often neglect their stores.

Keen to access the potential that the shops have to inform and engage, Emma tried to move away from the traditional cluttered and chaotic image and create something new and fun.

She used letterpress and combined this with bright colours, animal characters and footprints to create an exciting customer experience.

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‘Happenings’, Kim Yeandle-Hignell, 2014.

Also exhibiting is Kim Yeandle-Hignell, who has produced two publications: ‘Autoimmune & Diet’, about diets currently used to battle the symptoms of autoimmune diseases, and ‘Happenings’, about Elephant & Castle’s colourful pedestrian subway.

Prompted by the possibility of a redesigned roundabout which involves removing the subway, ‘Happenings’ is an A3 memento of this underpass and its heritage, gathering together memories, feelings, thoughts and opinions from those who use it.

Come along to the huge School of Design show to see this and much more work by our talented graduating students!

School of Design: MA Contemporary Typographic Media, MA Graphic Branding and Identity, MA Graphic Design, MA Graphic Moving Image, MDes Service Design Innovation, PGCert/PGDip Design for Visual Communication
Exhibition open: Monday 8 – Saturday 13 December
Private View: Tuesday 9 December 6-9pm
RSVP for Private View
Late night opening: Thursday 11 December until 9pm

Read more about MDes Service Design Innovation

Read more about PGCert Design for Visual Communication

Read more about PGDip Design for Visual Communication

The post LCC Postgraduate Shows 14 // Spotlight on MDes Service Design Innovation and PGDip/Cert Design for Visual Communication appeared first on London College of Communication Blog.

IT floor walking – December 2014

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IT floor walking: how can we help you?

  • Office 2013 – Let us show you the new features
  • Productivity – Excel reporting, effective email, PowerPoint
  • Teaching & Learning – Moodle, Workflow, Blogs
  • Web – Site Manager, MyArts Intranet
  • Mobile working – iPad, Cloud
  • Hardware support – Remote access, printers

Book up to 60 minutes with an IT expert, and get the individual help you need at your desk and at your convenience.

Schedule:

  • Monday 15 December – CSM
  • Tuesday 16 December – LCC & Camberwell
  • Wednesday 17 December – High Holborn & LCF
  • Thursday 18 December – Chelsea & Wimbledon

Book your one-to-one slot with Lucy on x6296 or email odl-diglit@arts.ac.uk

A collaborative event from OD&L, CLTAD, Web Team and IT@arts, working together to support all your IT development needs.

Learning and Teaching Day 2015 – schedule announced!

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Book a place now to attend Learning and Teaching Day 2015!

14 January 2015, 9.30am–6pm, London College of Communication

This year CLTAD’s Learning and Teaching day will explore how risk taking and innovation can improve learning and teaching at UAL.

We are delighted to confirm a fantastic schedule of presentations from staff across UAL – from creative practice cycling tours to a mobile sustainable library to object-based learning, it promises to be a fascinating day.

Our keynote speaker, Dr Mark Readman (Bournemouth University) will explore the notion of creativity, providing an overview of the key approaches to this most seductive and elusive concept.

There will be a cocktail reception at conference closing.

UAL Edit Interview: Isaac Julien

Born in London, Isaac Julien studied painting and fine art film at St Martin’s School of Art. Nominated for the Turner Prize in 2001, he has been awarded numerous prizes, including the Semaine de la Critique Prize at Cannes, the Performa Award, and the Frameline Lifetime Achievement Award. In 2003 he won the Grand Jury Prize at the Kunstfilm Biennale in Cologne for his single screen version of Baltimore; in 2008, he received a Special Teddy for Derek, at the Berlin International Film Festival. He is Chair of Global Art at UAL and faculty member at the Whitney Museum of American Arts.

Julien has had solo shows across the world including the Pompidou Centre, MOCA Miami, Kestnergesellschaft, the Museu Nacional de Arte Contemporânea do Chiado, and SESC Pompeia. His work is represented in public and private collections including those of MoMA, Tate Modern, the National Museum of Norway and the Louis Vuitton Art Foundation.

Isaac  Julien © Graeme Robertson
Who or what first inspired you to become an artist?

My introduction to art dates back to my early teens in London. It came about through a combination of events, people I met, and things I was seeking. What really started to change things for me was my O-level art class as there I had a set of extraordinary teachers—people whose conversations opened up a brand-new world. Growing up and living in the East End at that time also meant I came across so many different kinds of people that exposed me to oppositional and bohemian culture: artists, academics, activists, gays, punks, musicians, leftists, feminists, the list goes on.

I was already convinced I wanted to go to art school, so I did a pre-foundation course at City & East London College. That was when I made my first real video, called How Gays Are Stereotyped in the Media: where I cut out models and pages from Gay Left magazine, then added an analysis of the gay subtext in Alfred Hitchcock’s Rope.

In all the uprisings and eruptions of the 1980s I saw that kind of powerful, dissident energy over and over. It was then that I made the choice to do Fine Art/Film at St. Martin’s School of Art. When I started there, I could count the other black students there on one hand. So the spring of ‘81 also marked my first encounters with experimental film, which I first saw as very exclusive and elitist. Nevertheless, its painterly aspects and its indexical relationship to the real fascinated me. I wanted to produce work that could potentially break down preconceptions of what “film” should traditionally be.

Gay Left magazine no.8, 1979

What are you working on at the moment?
Since 2012 I have been working on a project concerning the life, work and influence of Lina Bo Bardi: Italian born Brazilian modernist architect. The project will take form in a film and installation and looks closely at Bo Bardi’s practice as an interdisciplinary one, between art and architecture, rather than as a collection of disparate and discrete interests. The first iteration of the project was a poster for a film ‘The Ghost of Lina Bo Bardi’ and a performative-casting.

Isaac Julien, Poster of The Ghost of Lina Bo Bardi Courtesy Normal Films and Isaac Julien

What are you most passionate about?
To put it simply: my family, my friends and my work.

Production still, Frantz Fanon: Black Skin, White Mask, 1996. Courtesy Normal Films & Isaac Julien Studio Archive

Name a favourite book, song and film
In terms of literature, music or films that I love it would be near impossible to name one single work!

For each of my projects we begin by amassing a library of texts and publications that have resonated with me. For PLAYTIME, one of my most recent film installations, I read David Harvey, Stuart Hall (both of whom appear in KAPITAL, an accompanying work), Gaspar Tamas, Mark Fisher, John Lanchester, Sarah Thornon and Noah Horowitz.

So there are separate influences and touchstones for each project but also long term influences. I’m lucky that I’ve been able to work with many of them in some way, from Derek Walcott in Paradise Omeros to Stuart Hall in The Attendant.

Historic filmmakers include: Derek Jarman, Henri-George Clouzot, Jean-Luc Godard, Jean Genet and Jacques Tati amongst many, many others.

In terms of songs that mean something to me, I grew up with music as an important cultural expression. Early on, I identified myself as a ‘soulboy’. This meant you were interested in funk music and you collected records. It denoted something exciting to me about the advancement of black cultures and particularly of black America, something that was being represented through the music.

Also, I think my love of dance and movement actually comes from James Brown. Certainly it came from the idea that when you’re dancing, then you really mean something. You’re producing meaning, both in movement and in that core response to musicality—in all its tonal, atonal, and rhythmic aspects.

For me, rhythm is central to the creation of structure. After all, a central reconciliation of funk is the sense that there’s no conflict between beauty and politics. Funk manages to contain both things in one—and that’s where I think what I do relates to music. I feel my work is a translation of that same impulse into a different arena.

Isaac Julien, THE ABYSS (Playtime), 2013, Endura Ultra Photograph

Do you think University of the Arts London has an important role to play in Britain’s cultural life?
Absolutely, I’ve mentioned to you already just how much my own time at St. Martin’s School of Art really impacted on who I am today as an artist and as an individual. Needless to say, one’s time as an art student can be incredibly formative; there is a real wealth and diversity of different resources around you from your fellow peers to your professors. Of course, it this then has it’s wider significance in British cultural life as it gives possibility and opens up new horizons to a next generation of artists, makers and thinkers centered in London.

Another thing that I think is incredibly special about the University of Arts London is that it works to preserve and make available significant periods of contemporary and historical culture through a wide range of archives and special collections held across its the six colleges. The collections include work relating to fashion, publications, printing, film, performance, typography… and so the list goes on. Research, archives and access to historical material are greatly important to the production of new and progressive work and ideas, and something evidently that my practice could not have done without.

University of Arts London is the largest postgraduate arts and design community in Europe, its alumni list is truly extraordinary and I think that says an unprecedented amount about how it’s shaped cultural life in Britain.

Photobooth of Isaac Julien with the artist David Harrison, Saint Martins Alternative Fashion Show, 1981

Tell us more about your vision as Chair of Global Art
A role in an academic institution is something that I cherish and take very seriously. Having held professorial positions at Harvard University and Staatliche Hoscschule fur Gestaltung Karlsruhe, Germany, being able to connect to students and invest in their academic experience is something I see as truly an honour.

My vision is to use my research and practice as an independent filmmaker and visual artist to encourage conversation and questions around the institutional and ideological landscape of contemporary art and culture in a global context. In the last decades, the increasing complexity of political, economic, and social relationships worldwide continues to shape art and culture. As art markets take on different roles in different places, while they themselves become the subject matter of a steadily diversifying range of academic disciplines, what I wish to share with students is an engagement of how images can play a critical role in shaping our understanding of the world.

I would like to work closely with students on studio visits and gallery tours to discuss completed work and works in progress. In addition, I plan to arrange higher profile talks with some of the most interesting minds in art, critical theory and film.
My studio is home to a significant archive of material related not just to my career but everything from the beginnings of cultural studies in the UK, the workshops of the 80s, gay issues, the emergence of moving image work in the gallery and so on. I would be happy to invite dedicated students researching these areas to view and make use of my archive.

 UAL recently visited South Korea, could you share your insights about the creative scene there?
As ‘Chair of Global Art’ at University of Arts, London I wholeheartedly encourage and support the relationship between the University and cultural, artistic and academic centers in South Korea.

In 2012, Tate held an important conference on contemporary research in to East Asian visual culture; giving a platform to current critical discourse around the increasingly prominent South Korean cultural landscape against the social, economic and political shifts that have taken place as a result of globalisation. This important step in our growing understanding in Britain of East Asian visual culture is inseparable to the fact that over the past 20 years a robust art scene has come to the fore in South Korea. There are outstanding museum spaces, major corporate and private collections, prominent commercial galleries and experimental artist-run spaces. The development of institutions such as the four sites that make up the National Museum of Modern and Contemporary Art (MMCA) is just one iteration of the scale of the South Korea’s extraordinary investment in to collecting, preserving and exhibiting.

The country also plays host to two of the worlds most significant and influential Biennials in the cities of Gwangju and Busan. Having shown my works Baltimore at the Busan Biennale 2004 (Tae-Man Choi and Manu Park) and Western Union: Small Boats at the Gwangju Biennale 2008 (Okwui Enwezor) my own experience as an artist of South Korea’s cultural landscape is that above all it is sophisticated, very aware, and largely committed to defying leveling effects of mass culture. With the support of Fondation d’entreprise Hermès, in 2011 the Atelier Hermès in Seoul displayed a solo exhibition of my work, Ten Thousand Waves. The experience of spending some time in South Korea and working with an organisation such as that was one that I really value.

Indeed, the vibrancy and energy that defines the South Korean cultural scene is truly exceptional. As the country grows to be an epicenter for research and innovation in new technologies, contemporary artistic practice largely embraces this but does not necessarily forgo a diligent understanding of national and cultural historicism, and questions around where to place traditional values in the present day. It is a scene that grew from and is embedded in shifting terrains: it is therefore as progressive as it is diverse. Whilst artistic practices traverse multiple traditions and aesthetics, South Korean artists demonstrate a dexterity of material and distinctive approaches to the fluidity of collective and individual identity: its interactions and permutations.

As an individual whose artistic practice is concerned with film and video, my personal tie to South Korea is the inspiration I took from artists such as Nam June Paik, born in Seoul. To me he was an artist, frantic and dissonant, who dared to imagine a future where today’s technologies exist. His influence on contemporary South Korean artists is incontestable and indeed many choose to work with film, video and new media. It is exciting and it is important for those in the artistic sector in Britain to look outside themselves, to form connections and to truly engage with their contemporaries in countries such as South Korea.

Find out more about University of the Arts London’s Chairs on the UAL website

Visit Isaac Julien’s website

See more UAL Edit interviews on the interview archive page

 

Introducing the new UAL Passport!

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The UAL Passport helps you get the best job, develop as an entrepreneur, set up a business or work as a freelancer, whether in the creative sector or for your broader career aspirations.

By collecting UAL Passport stamps you will earn increasingly valuable rewards such as individual careers advice, and CV and portfolio reviews. Complete the UAL Passport by collecting a total of 12 stamps and receive your UAL Passport award certificate, plus business start-up support or the opportunity to show your portfolio/CV to top employers.
 
You can pick up your UAL Passport at various locations across UAL; at all SEE events, talks and workshops; or at one of many SEE Roadshows taking place across UAL.
 
You can earn stamps in your passport in one of the two following ways – by attending SEE events (earning 1 stamp), or by applying to SEE opportunities such as the SEED Fund, MEAD Scholarships and Fellowships, ArtsTemps etc. (each worth 2 stamps). Find out more by visiting the Career Reward Passport page.
 
The UAL Passport in coordinated by Student Enterprise and Employability (SEE) and runs from November 2014 to July 2015.

Visit the Career Reward Passport page.