Archive for the ‘Exhibitions’ category

LCC Postgraduate Shows 14 // Spotlight on MA Photography

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‘In Case’, Ji Sun Choi, 2014.

With the first of our Postgraduate Shows just days away, we continue our show previews with a look at what MA Photography students have in store.

Exhibiting in our Upper Street, Well and Atrium Galleries, MA Photography is a concept-driven course dedicated to expanding the boundaries of the photographic medium.

This year, the show features work by Ji Sun Choi, whose project ‘In Case’ is an installation of suitcases and photographs that explore human anxiety.

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‘In Case’, Ji Sun Choi, 2014.

Devoid of functionality, the presented objects are suggested as means of dealing with and surviving the symptoms of anxiety provoked by our daily environment.

At the same time, depicted hands and gestures point, grip, hold and take – engaging with the world through the prophylactic object.

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‘Covering the Carpet’, Jocelyn Allen, 2014

In ‘Covering the Carpet’ and ‘Your Dedication Worries Me a Little’, Jocelyn Allen explores the body, performance and representation.

‘Covering the Carpet’ is a response to the scrutiny of the female body, particularly the pubic region. In a series of nudes, Jocelyn is seen contorting, balancing and stretching her body into poses which conceal this area.

‘Your Dedication Worries Me a Little’ is an ongoing collection of over 1000 self-posted YouTube videos in which Jocelyn dances and/or mimes to songs on her webcam. Jocelyn describes this as “an exercise in trying to not care what people think about me” and is interested in what people say about others online.

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‘Your Dedication Worries Me a Little’, Jocelyn Allen, 2014.

Yukihito Kono investigates photography in various formats from installation to performance and publication in ‘244’.

Fragments of black and white images of waves pinned onto the wall create a vast space of meditation and interpretation between the image and its viewers, visualising how people relate to and affect each other.

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’244′, Yukihito Kono, 2014.

The work also raises the question: where is the presence of a photograph?

This fantastic work and much more is on show from Tuesday 25 November, so don’t miss the chance to come and explore for yourself.

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’244′, Yukihito Kono, 2014.

School of Media: MA Documentary Film, MA Photography, PGDip Photography Portfolio Development
Exhibition open: Tuesday 25 November-Monday 1 December
Private View: Tuesday 25 November 6-9pm
RSVP to Private View
MA Photography Symposium: Tuesday 25 November 11am-4pm
Late night opening: Thursday 27 November until 9pm

Read more about MA Photography

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Welcome to Postgraduate Shows 2014

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Our spectacular Postgraduate Shows 2014 are just around the corner and below are the key dates and times for this year.

We can’t wait to celebrate the work of our talented postgraduate students as they prepare to become the future of the creative industries, and we hope to see you there!

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Postgraduate Shows 2013. Image © Ana Escobar

School of Media: MA Documentary Film, MA Photography, PGDip Photography Portfolio Development
Exhibition open: Tuesday 25 November-Monday 1 December
Private View: Tuesday 25 November 6-9pm
MA Photography Symposium: Tuesday 25 November 11am-4pm
Late night opening: Thursday 27 November until 9pm

School of Media: MA Sound Arts (Angus-Hughes Gallery, Hackney, E5 0PD)
Exhibition open: Tuesday 2 – Sunday 7 December
Private View: Monday 1 December 7-9pm
Symposium: Sunday 7 December 2pm
Performances: Sunday 7 December 7pm

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
Late night opening: Thursday 11 December until 9pm

School of Media: MA Photojournalism & Documentary Photography
Exhibition open: Wednesday 7 – Thursday 15 January 2015
Private View: Thursday 8 January 6-9pm
Late night opening: Wednesday 14 January until 9pm

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Postgraduate Shows 2013. Image © Ana Escobar

RSVP to the Private Views

Visit our Postgraduate Shows 2014 page

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MEAD Scholarship recipient hosts first solo show – Dead Cat Bounce

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Light Eye Mind are excited to present Dead Cat Bounce, the UK debut solo show by Alice Woods.

Woods, a final year student studying BA Fine Art at Central St Martins, is a recent recipient of the prestigious Mead Scholarship and is without a doubt, one to watch out for in the future. Woods is concerned with the implications of economic and financial systems that highlight the complex relationships between the powerful and the powerless, particularly since the explosion of the Occupy movement and the effects of the 2008 global recession in Woods’ home region of North East England.

Through in-depth research, Woods sets out to address the UK’s economic knowledge deficit and elucidate the relationships between cultural and economic decision-making.

Dead Cat Bounce is a thoughtful and eye-catching contribution not only to the art world, but also to the wider public.

Date: 15 – 29 Novemeber 2014
Location: Light Eye Mind, 176 Blackstock Road, London
Cost: Free

For more information, visit – www.lighteyemind.com

 

Review // LCC turned Inside Out

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‘Framing the Elephant’ at LCC. Image © Filip Bigos

The LCC Graduate School was proud to host a series of events recently as part of the Inside Out Festival 2014. Ranging from a pop-up drawing event to a documentary film screening, the events brought students, the public and industry experts together in celebrating London’s vibrant culture.

Photography PhD student and MA Photojournalism and Documentary Photography graduate Zephie Begolo reports.

Monday saw the pop-up drawing event ‘Framing the Elephant’, which was run by Grace Adam, who teaches design at LCC and across UAL. The window of LCC’s Typo café was turned into a canvas as frames were stencilled onto the glass – not permanently! – and people were invited to draw what they could see outside.

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‘Framing the Elephant’ at LCC. Image © Filip Bigos

They washed the images off after photographing them and started again. This created a buzz in the café and saw lots of people, from arts to journalism and business students, picking up their Posca pens and giving it a go.

Grace, who specialises in working with spaces we build and negotiate, said: “We’ve had all sorts of people giving it a go. It’s all about getting people to draw who don’t normally draw and getting them to take a few minutes to really notice and appreciate their environment.”

That evening, Professor Lawrence Zeegen, Dean of the School of Design at LCC, presented his new book and accompanying exhibition ’50 Years of Illustration’.

Taking the audience on a personal journey through the world of illustration, Professor Zeegen also charted the past five decades in the industry, from the psychedelic idealism of the ’60s to the stylised, overblown consumerism of the ’80s, right through to the beginning of the 21st century.

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Attendees explore ’50 Years of Illustration’. Image © Filip Bigos.

He shone light on professionals who have created some of the most iconic images across the generations, noting work that has been of social and political importance and demonstrating how illustration through the decades has been informed by and represented the social zeitgeist.

A preview of the exhibition followed the talk and included an impressive array of familiar illustrations. Coinciding with the beginning of a new MA in Illustration at LCC, this event was a celebration of the subject’s rich and colourful history.

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‘Is Silver Surfing the Solution for Social Isolation?’ panel debate. Image © Filip Bigos.

On Tuesday an expert panel gathered in the Main Lecture Theatre to discuss the topic ‘Is Silver Surfing the Solution for Social Isolation?’. LCC’s own Amanda Windle, DigiLab Fellow, presented research that has been conducted into people’s relationship with technology over the age of 65 and discussed a new app aimed at getting more people engaging with social media.

The debate was chaired by Sarah Johnson of the Guardian and she was joined by Thomas Giagkoglou, Course Leader BA Media Communications; Tim Burley, Development Director of artsdepot; Marcus Green, Research Manager at AgeUK and Michele Fuirer, Artist and Specialist in Learning – Public Programmes at the Tate.

The panel discussed the increase in feelings of isolation among the older generation and how these might be counteracted through arts and technology initiatives that could build social networks.

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Richard Wilson talks to William Raban about ’72-82′. Image © Filip Bigos.

Lastly, Thursday saw the screening and interview ’72-82: Richard Wilson in conversation with William Raban’. The film ’72-82′, which brings together rare archive footage, interviews and images of the first decade of the groundbreaking London arts organisation, Acme, was created by LCC’s Professor of Film William Raban.

He worked in conjunction with Wilson, who went on to become a renowned sculptor following his time at Acme. The film provided a fascinating insight into the lives and community of the thriving arts scene in London and the ways in which artists were supported by Acme, and given the opportunity to work and create, who otherwise might not have been able to survive in London.

In the discussion following the screening, Wilson described the sense of freedom that was afforded to the Acme artists in taking over derelict buildings in the East End and often incorporating them into their artwork, creating a unique mode of expression for all the artists involved.

Professor Raban emphasised his love of the capital and how it is an extraordinary breeding ground for inspiration and creativity, which leads him to continue to make films about the city.

Watch the discussion between Raban and Wilson //

The Inside Out Festival, which is curated by the Culture Capital Exchange in association with Times Higher Education, aims to shine a light on the contribution of London’s universities to the vibrant creative culture of the capital.

Words by Zephie Begolo

Read more Research at LCC

Read more about the LCC Graduate School

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1914 Now films launch on SHOWstudio

1914 Now: Film Inculabuna

1914 Now: Film Inculabuna

Four fantastic films that draw together curatorial talents and film making ingenuity today launched on SHOWstudio, bringing to a global audience the 1914 Now exhibition which is currently on at Spazio Punch in Venice.

1914 Now, four perspectives on fashion curation is a film installation which figures a collaboration between LCF academics and other renowned artists and curators.

Curators, Walter Van Beirendonck, LCF’s Amy de la Haye, Kaat Debo, and LCF’s Judith Clark (Course leader MA Fashion Curation) were invited by Alison Moloney (LCF Curator, International Exhibitions Programme) to express a moment in fashion or dress from 1914. Rather than working in familiar museum contexts, they explored the potential of film as a medium, revealing their perspectives on one year of fashion and on fashion curation. To do this, the curators have collaborated with filmmakers including Bart Hess, James Norton, Katerina Athanasopoulou and Marie Schuller.

The project was inspired by Rem Koolhaas’s brief to the national pavilions in the Giardini of the Venice Architecture Biennale Absorbing Modernity 1914 to 2014. Alongside the films is a catalogue, which will be available on the UAL e-store, containing essays from the curators and responses from architectural historians and practitioners, which explore how moments of modernity in fashion collide with those of other disciplines.

Make sure to explore these intriguing and wonderful responses to a moment in time on SHOWstudio.

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Meet Professor Becky Earley Director of TFRC and find out more about Textile Toolbox

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Fractal Shirt (2013) by Professor Becky Earley

Professor Becky Earley, Director of Textile Futures Research Centre (TFRC) tells us more about the upcoming Textiles Toolbox online exhibition, which launches on 13 November 2014.

This exhibition is to showcase the developments in the MISTRA project so far, do you think you have progressed with your aim to bring about significant change in the fashion industry leading to sustainable development within the industry and throughout wider society?

The brief is ‘systemic’ change, and we have been designing prototypes that propose change in terms of systems and services. The concepts that we are proposing through the exhibition include: the idea of textile design and mending for the fashion library; short life fashion materials that are appropriately made and disposed of; disruptive technology that changes the way that garments are cut, embellished and seamed; and technology systems that communicate fibre content to aid with sorting for recycling. You will have to view the show to see the others – but yes, we believe that they all signal new ways to think about how the industry may work in the future!

The consortium as a whole has begun to have a significant effect on the industry: with fibre and recycling research (Fortex testing, cotton bed sheets to cellulose research); consumer behaviour recommendations (Five Ways); policy recommendations (prolonged producer responsibility); ‘public fashion’ (recommendations for textiles in hospitals); as well as our own interventions with design teams in small, medium and large businesses (through Konstfack, the Sustainable Fashion Academy (SFA), and H&M).

The important thing about this funding is that it recognises that research takes a while to create impact. The other thing is that the funding programme extends to a further 4 years (2015 – 2019) – this to specifically ensure dissemination and impact. Working with the industry stakeholders over the last 4 years we have been able to continuously adapt our ideas to suit needs and demands.

Tell us what’s next for you and the project

We are working towards a final report for the middle of next year which brings all the TED research together and will go through an industry peer review process. The phase 2 proposal has already been submitted and it focuses on designing for the circular economy. All the projects will work together more closely in the next phase to create viable closed loop options for Swedish stakeholders. It’s exciting for us, as our AHRC Worn Again project (2005 – 2009) set out to explore ‘upcycling’ design strategies, so we are able to continue with those ideas here, but now working with larger volumes of production.

Your piece in the exhibition, Fast Refashion, by Prof Becky Earley, how does this showcase the values of MISTRA?

As the programme asks for both systemic and profitable change, we all recognise that fast fashion mentalities and habits in generation Y consumers will be hard to shift in the short term, if ever. However, there is much that can be done to get consumers more involved in their clothing choices and care  – and making it realistic and fun is important to this sector. Fast Refashion gives the consumer creative freedom to remake the garment at least one time before giving it to a friend, or sending it to a charity or a recycling initiative. Extending use by a single simple redesign act makes environmental savings in terms of potentially reducing new purchases, and may raise awareness and build emotional durability. The upcycling can be done with a domestic iron, and the designer support the consumer through online video and downloadable tutorials. Of course it’s an experiment, but in the next phase when we look at this idea with consumer behaviour experts and real fashion library users we will be able to understand more about the potential for the consumer extending the life of garments – either with or without the help of a retailer. (For more reading around this, see my article about The Black Hack Chat in September’s issue of The Design Journal.)

Related links:

Apply for the next UAL Showroom exhibition

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We are welcoming proposals from University of the Arts London staff, students or alumni to hold a group exhibition within the UAL showroom, from 7 April – 3 July 2015.

The exhibition should showcase the work of either current students, recent graduates or established alumni in a way that promotes them and their practice (min 4 – max 30 exhibitors, that have not previously exhibited in the UAL Showroom) and raise the profile of UAL, through a public engaging exhibition.

To apply to be part of this exhibition please read through the exhibition criteria, and download the application form below:

Deadline for exhibition proposals: Wednesday26 November 2014 | 10am 

Meet Bridget Harvey, UAL PhD student and exhibitor in Textile Toolbox

Bridget Harvey

Bridget Harvey is a PhD student at CCW and member of Textiles Environment Design (TED)  and Textile Futures Research Centre (TFRC). She is a practitioner outside of her PhD, here she tells us about her participation in the TEXTILE TOOLBOX online exhibition, an online exhibtion launching on the 13 November 2014. It is a showcase of ten propositional design concepts inspired by Mistra research into the sustainability of the fashion and textile industry. 

- Tell us about the work you are including in Textile Toolbox: A Jumper to Lend, A Jumper to Mend, by Bridget Harvey – why did you chose this work?

I was invited to make a piece responding to the idea of a clothing library – a place where people can borrow clothes, as one would borrow books.  I thought about this in terms of practicality and aesthetics to start with.  Repair is a form of customisation so alongside the repaired jumper I felt there should be a kit containing the materials needed to mend your own clothes in keeping with your own style.  Along with this I developed a conceptual tool kit, which ‘mends’ the material of the jumper.  Wool is highly processed before we use it and I am interested in the process needed to repair it to its original material form.  These tool kits offer different things – one is an aid to DIY and wardrobe maintenance, and the other is information about material origins.  The jumper posits repair as an aesthetic choice, and embeds the action of repair as a slogan or logo within itself.

- Where do you do most of your work/research?

Where I work depends on my day.  I have access to hot-desking spaces at both Chelsea and Camberwell (where my supervisors are based) but if I am not in college I work from my studio in east London.  I use all the university libraries as they have different collections but for working in I find the quiet room at LCF best.  My studio is my favourite workspace though as I have 2 desks there, one ‘clean’, for writing and reading, and one ‘messy’, for making.  I find that going between writing and making as I need to is my most fluid and productive way of working.

- What is it like to be part of TED and TFRC? How does it affect your work?

Being part of TED and TFRC is brilliant – I have a built in network for support and information, as well as a base to work from.  Their profile means that they are involved in projects I would otherwise not have access too, and I get to meet exciting people through them.  I also introduce people to the groups – their web platforms show great examples of what practice based research is.

- How do you balance your work as PhD student and practitioner?

I see my practice as holistic so I try to incorporate both into all my activities.  Some areas of my practice are less directly related to my research (my commercial making for example), but still link in through my material, aesthetic and ethical choices.  The balance challenge is more between time for work and time not for work!  I am lucky though that I am excited by what I do, so even when I am working a long week I still generally find it enjoyable.

- Why did you choose UAL to do a PhD and how has your experience been so far?

I chose UAL as I had done my BA and MA’s there, I was familiar with the university sites and systems and felt this would make the transition to PhD easier.  I knew that I would get the support I needed, be able to work with the supervisory team I wanted and that, as my proposal was in line with the university tenets, I had the greatest chance I could give myself of being awarded the scholarship I needed.  UAL has a strong reputation for practice based research and the practitioners who work there are well recognised, this was also important to me as was access to the workshops, libraries and technicians.

Related links:

Visit Bridget’s personal website

The Art of Dress, a fashion film

LCF alumnus, Gsus Lopez, has created a fashion film for LCF’s Art of Dress exhibition. The exhibition, which is currently touring five international cities of style, celebrates that iconic item, the dress.

LCF talent in the form of both alumni and academics are involved in every stage of the exhibition as it visits New York, Dubai, Shanghai, Florence and London.

Gsus’ Art of Dress film stars Holly Weston, Keira Duffy and Jose Wickert and features some of the incredible dresses from the exhibition. Keira, as the lady in waiting wears a dress from Casey Gan (BA Hons Fashion Design Technology: Womenswear 2012)  whilst Jose as footman wears both Alexis Housden‘s (BA Hons Fashion Design Technology: Menswear 2013) pink menswear and Henrietta O’Connor‘s dress. Holly as queen wear’s Rachel O’Mahoney‘s ‘Elizabeth’ dress.

Gsus graduated from part-time BA (Hons) Fashion Media this year and has since gone on to create a successful kickstarter project, the film OUT.

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Inside set design with Simon Costin and Gary Card

Inside the Industry with Simon Costin and Gary Card

Inside the Industry with Simon Costin and Gary Card

Last week Inside the Industry welcomed two of set design’s biggest stars – Simon Costin and Gary Card. The designers were invited by Fashion Space Gallery’s Director Ligaya Salazar, as part of the events programme accompanying Simon Costin’s Impossible Catwalk Shows.

Simon opened by considering the art of set design and how he started out:

“There’s a thin line between presenting what’s in the collection and overpowering it.”

Simon started out by working with Gareth Pugh, assisting him when he was just out of college. As budgets were tight, Simon would have to come up with simple and effective set designs – one was a piece of material loosely pinned to the floor with a wind machine causing it to billow up. Simon said:

“It was a simple idea that was so effective – we had to teach the models how to ponystep down the catwalk.”

Next the pair got stuck into talking about their mutual passion. Here’s the lowdown:

What do you do on a shoot?

GC: “Stand next to the chaise longue and say it needs to be moved 2mm? I’ve never know what I should do!”

SC: “I generally look busy in the corner and wait to be called over! But really there is no rule book.”

How do you feel about taking down the sets after the event/show?

SC: “It’s very intense – it’s like a butterfly, it glitters for that moment and then it’s gone. I used to hate it at the end of the event – when all of the lights go up – as that’s when the magic goes. It’s all about the moment; it’s ephemeral.”

GC: “I find it very cathartic to throw it in the skip!”

What’s the hardest and most important lesson you’ve learnt from working in the industry?

GC: “Don’t turn up to the job drunk or stinking of booze!”

SC: “Creativity is a huge part of this job but building up client skills is really important. It’s important to recognise when someone might be out of their depth and to be able to manage them well – but this is something that comes over time. You can’t learn it all from a book.”

Inside the Industry with Simon Costin and Gary Card Inside the Industry with Simon Costin and Gary Card Inside the Industry with Simon Costin and Gary Card

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