Archive for the ‘Research’ category

Printmaking in Changing Contexts

Paul Coldwell: Symposium - Printmaking in Changing Contexts

Paul Coldwell, Material Things: Sculpture and Prints.

Symposium: Printmaking in Changing Contexts
30th April , 1- 3pm
Cartwright Hall, Bradford

In response to Paul Coldwell’s exhibition Material Things: Sculpture and Prints at Gallery II, University of Bradford (13th March – 7th May 2015) there will be an afternoon discussion about printmaking, past, present and future. Printmaking in changing contexts will be held at Cartwright Hall, Bradford on Thursday 30th April  (1 – 3pm).

The event will be chaired by Sonja Kielty (Curator, Exhibitions, Bradford Museums and Galleries) and Andy Abbott (artist and University of Bradford) and will include a presentation by Coldwell outlining his long association with printmaking and Bradford.

Further details:

Free event, all welcome.

Spaces will be limited, please RSVP: 01274 431212,

A review of Material Things can be found on the following link:  CV: Material Things

UAL selected to host one of six debates celebrating 10 years of AHRC

University of the Arts London (UAL) has been selected as one of six universities to participate in a debate series celebrating the 10th anniversary of the Arts and Humanities Research Council (AHRC).

Books and the Human

 The Medium is the Massage: An Inventory of Effects,  Marshall McLuhan, Quentin Fiore, 1967

The theme of the series is ‘The Way We Live Now’ and the debates will examine key aspects of the human world, the ways in which these subjects are changing and shaping our lives, and will explore the ways in which the arts and humanities can help us understand this changing world.

UAL was selected from over 40 universities to take part in this prestigious series of events, and will be hosting its debate entitled ‘Books and the Human’ in December 2015 at Central Saint Martins. The debate will pose the question: what are the primary relationships between books and knowledge, and between books and human beings? This question will be addressed through expanded debates which draw together the fields of philosophy, history, politics, sociology, literature and creative practice. Additional events held at Central Saint Martins and other UAL colleges will explore how books are conceived, crafted, experienced and shared.

The debate series will be launched with the Curating the Nation debate on 11th  June at the British Museum and will run for several months, with further details to follow over the next few months.

Programme Director and Course Leader of MA Communication Design at Central Saint Martins Rebecca Wright, who was part of the team to put forward UAL’s application, said of being selected for the series: “We’re delighted that UAL has been chosen to take part in this debate series to celebrate ten years of AHRC. The Graphic Communication Design programme at Central Saint Martins has a long and rich history of association with typography and book design, dating back to 1896 as the Central School of Arts and Crafts. Hosting this AHRC national debate provides an exciting opportunity to explore the form, function and future of the book from the perspectives of making and thinking, integrating design with the wider humanities. Our interest is in how the book is intimately linked to the way we live now.”

Waste-Off and LCC’s Museum of Reinvention


The Museum of Reinvention, Waste-Off, LCC, 2015.

This week marks the conclusion of the cross-University Waste-Off Challenge, a  project to give waste new value and help promote material reuse and sharing. As part of this the Museum of Reinvention is being exhibited at LCC.

Waste-Off was launched at the end of last year by the UAL research hub Conscientious Communicators with support from Stephen Reid, Deputy Vice Chancellor of UAL, who saw the project as an opportunity to “harness the passion to drive forward change”.


The Museum of Reinvention, Waste-Off, LCC, 2015.

Teams comprised of students, academic and technical staff came together to collect material waste and via studio working and workshops facilitated by design-maker and UAL alumnus Jan Hendzel, created collaborative inventions.


The Museum of Reinvention, Waste-Off, LCC, 2015.

The result was the generation of diverse and inventive projects from across London College of Communication, Central St Martins, Camberwell and London College of Fashion.

LCC students, staff and alumni created  two cabinets of reclaimed, up-cycled and reinvented objects – to act as a permanent showcase of inspirational examples, teaching tools and unexpected ‘creative curiosities.’ The aim was to demonstrate that salvaged items can have greater value, character and potential than virgin materials.


The Museum of Reinvention, Waste-Off, LCC, 2015.


The Museum of Reinvention, Waste-Off, LCC, 2015.

Sarah Temple and Tara Hanrahan, who conceived and managed the project, explain: “We wanted people to explore the creative potential of the discarded! To show by example what is possible and through this activity help establish practical processes for staff and students to share resources and avoid contributing to landfill.”

Find out more about Conscientious Communicators here.


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Spatial Storyworlds: CFP and Visual Presentations

Palais de Tokyo. Photo: Tricia Austin.

Palais de Tokyo. Photo: Tricia Austin.

Call for Papers and Visual Presentations for the Spatial Storyworlds Panel

The Fourth International Visual Methods Conference

University of Brighton
16th – 18th September 2015

Exhibition designers, artists and architects are invited to submit

  • A 400 word summary addressing the debate and questions outlined below
  • Five images
  • A 100 word biography

Submissions should be sent to the panel chairs:

Tricia Austin <>
Allan Parsons <>

Email attachments should be no more than 8MB


15th April 2015: Submission
27th April 2015: Notification of acceptance

Spatial Storyworlds

While immersed in watching the screen or reading a book, you are, in many senses, always ‘outside’ the story. By contrast, you can walk right into a narrative environment, becoming physically, emotionally and intellectually immersed in narrative space. It seems bodily immersion in spatialised stories heightens the sensory dimensions of narrative and simultaneously reduces other aspects of narrative experience. The majority of narrative environments e.g. exhibitions, cultural and heritage sites, brand and retail environments or crafted public realm, are not strictly determined, linear spatial experiences. They offer a different kind of immersion. Visitors/audiences/inhabitants/users tend to go where they like and construct their own narrative threads. Fixed linear sequence from a single viewpoint is one dimension that is often loosened. However, it is argued that this kind of sequence is not the primary or sole key to narrativity. Narrative spaces have authors, narrators, dramatic conflicts, content, ways of telling, events, characters, voice, shifts over time from one state to another, in other words, a plethora of narrative dimensions.

David Herman suggests even literary stories are not created simply through a sequence of events but through the construction, by the audience, of a storyworld based on cues provided by the author showing the who, what, where, when, how, why framework of the story. He also suggests that audiences recognize a story as a story, through the rhythm and change of states and events, which, it is suggested, take material, visual and spatial form in physical spaces. Cues, states and events can vary from relatively stable architectural structures and spatial arrangements; more temporary printed graphics; still and moving image; sound; light effects; fast changing digital layers, usually accessed through mobile technologies; and, finally, the behavior of other people in the space.

The panel will explore the question: if we conceive of narrative environments as storyworlds rather than strict linear sequences, how does this change design practice particularly in relation to visual methods? The panel seeks to address this question through visual case studies critiqued through spatial, narrative or cultural theory.

Please email the panel chairs with any queries:  Tricia Austin or Allan Parsons

Research presentations on Exhibition Studies – 24 March

Paulo Nazareth, Noticias de America [News from the Americas], 2011–12 (Michelle Sommer)

Paulo Nazareth, Noticias de America [News from the Americas], 2011–12 (Michelle Sommer)

Tuesday 24 March 2015
Time: 10am to 1pm
Venue: CSM, Room KX D119

Presentations by 3 members of staff/visiting scholars:

Erika Tan (4D Pathway tutor at Central Saint Martins) will speak about her current research for her next film, focusing on ‘minor exhibition histories’ through the figure of a forgotten Malay weave/performer within the Empire Exhibition at Wembley in 1924.

Maria Iñigo Clavo (visiting research fellow in Exhibition Studies, from the University of São Paulo) will reflect on how to display history. What happens when you rub a work of contemporary art up against one from the colonial era, or against an ethnographic artefact?

Michelle Sommer (visiting PhD candidate in Exhibition Studies, from the Federal University of Rio Grande do Sul) will speak about her current research into contemporary practices of ‘errancy’ in Brazilian art, reflecting on artistic proposals for which being in motion is a fundamental condition. The leading question is: how to exhibit an art that escapes the frame of an exhibition, or how is it possible to write new exhibition narratives to discuss these artworks?

Places are limited, so please contact Dr Lucy Steeds if you are interested in attending:


Further information about the CSM Research Group: Exibition Histories Practices.

Hammad Nasar: Navigating the Afterlife of ‘The Other Story’ – 14 April

Cover of the exhibition catalogue for ‘The Other Story’, Hayward Gallery, 1989

Cover of the exhibition catalogue for ‘The Other Story’, Hayward Gallery, 1989

Tuesday 14 April 2015
Time: 10am to 12.30
Venue: CSM, Room KX D107

A presentation by Hammad Nasar.

Tate Britain’s exhibition ‘Migrations: Journeys into British Art’ (2012) can be seen as an attempt to map the impact of immigrant artists on the landscape of ‘British’ art over the past 500 years. It can also be positioned as an effort to productively complicate the ‘Britain’ in Tate Britain. But if we sharpen our focus to one of the nine galleries covering different eras that comprised the exhibition, it can be read as a partial restaging of the Hayward Gallery’s ‘The Other Story: Afro-Asian Artists in Post-war Britain’ (1989).

‘The Other Story’ – Rasheed Araeen’s polemical intervention – is among the small number of historically significant exhibitions in 1989 that have collectively shaped a new geography of contemporary art. But I do not see ‘Migrations’ as an example of the de rigueur reconstruction of key exhibitions. I see it, instead, as an inadvertent restaging: compelled, as if by a ghost, to address questions that have been left unanswered.

Based on access to Araeen’s personal archives, this paper begins a longer-term inquiry into how the artworks, and the discourses they were embedded in, changed during the 23 years it took them to move from the South Bank to Milbank. It also asks, through specific examples based on recent exhibitions in Asia, if migration ‘into British Art’ is matched by an emigration out of other places? Where does British art history intercept with that of Pakistan, the Philippines, or Taiwan?

Places are limited, so please contact Dr Lucy Steeds if you are interested in attending:


Further information about the CSM Research Group: Exibition Histories Practices.

Staging Disorder // Jennifer Good

books with hand

‘Staging Disorder’, Black Dog Publishing, co-edited by Christopher Stewart and Esther Teichmann.

LCC’s current showcase exhibition Staging Disorder runs until Thursday 12 March 2015, and the eponymous publication by Black Dog Publishing is co-edited by its curators Christopher Stewart and Esther Teichmann.

The book and exhibition feature photography that explores the ‘real’ in relation to depictions of modern conflict.

We interviewed contributing writer and LCC Senior Lecturer Jennifer Good to find out more.

Tell us a bit about your contribution to Staging Disorder.

When I looked at the work included in the exhibition I was immediately reminded of the writing of Sigmund Freud on ‘the Uncanny’, and also his ideas about how we ‘act out’ our fears in an unconscious, symptomatic way. What also came to mind was Gaston Bachelard’s book ‘The Poetics of Space’, in which he writes that the analysis of spaces can reveal a lot about our unconscious experience.

In my essay I tried to weave these three concepts together, thinking about the spaces of staged conflict as symptoms of deep social anxiety, externalised in uniquely three-dimensional form.

What particularly interests you about the subject of staged conflict?

For a long time I’ve been fascinated by the connection between architecture and the psyche – how spaces are inhabited by our minds as well as our bodies – and by the further complication that happens when photography enters these spaces and creates representations of them.

The places depicted in this exhibition are deeply evocative because of what we are invited to imagine happening in them. I find them troubling on all sorts of levels, because they can tell us a lot about who we are as a society.

What are you currently working on?

My book, ‘Photography and September 11th: Spectacle, Memory, Trauma’, is coming out on 26 March (Bloomsbury), and I’m about to start work on a new book project, ‘Understanding Photojournalism’, with my colleague Paul Lowe and Robert Hariman.

What do you think is the effect of holding an exhibition and book launch like Staging Disorder at LCC?

Esther and Christopher have done a fantastic job in bringing together the work of such internationally-renowned photographers and connecting it with newly commissioned sound works by members of UAL staff.

The exhibition and book both draw attention to different strands of research and arts practice that are already happening here. As well as raising the profile of the College, it’s great for our students too.

Is there any advice you would give our current students?

The time you spend at university is a time to take risks in your work, interrogate and push it from all angles, question every preconception and above all respond to what really makes you tick, instead of just doing what you think is expected of you.

Jennifer Good is Senior Lecturer, History & Theory of Photojournalism & Documentary Photography, London College of Communication.

Read more about Staging Disorder

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Staging Disorder // Angus Carlyle

Angus Carlyle - entrance

The Cave Mouth and The Giant Voice in LCC’s Well Gallery. Image © Lewis Bush.

Our photography and sound arts exhibition Staging Disorder is open until Thursday 12 March, and explores ideas of the ‘real’ in relation to modern conflict.

We asked exhibiting sound artist and Co-Director of CRiSAP (Creative Research into Sound Arts Practice) Angus Carlyle to tell us more about his work.

Can you tell us a bit about your contribution to Staging Disorder?

The Cave Mouth and The Giant Voice is a collaboration between myself and the anthropologist Rupert Cox. Installed in a dark space beneath the bridge across the Well Gallery, the work centres on a cave under the town of Sunabe, on the island of Okinawa.

It was here that Yogi-San sheltered from the US naval bombardment and it was here where he took us to tell his story.

That story is relayed in projected subtitles and by a composition of environmental sounds that connects the cave and Yogi’s memories of its past to the present day and the audible American military presence.

What drew you to tackle the subject of staged conflict?

In a sense, The Cave Mouth is a sketch for a sequel to our previous project called Air Pressure.

Air Pressure focused on an organic small-holding that is now almost engulfed by the architecture of Narita Airport near Tokyo but remains home to the last farming family of the many who settled in the area in the aftermath of WWII and created rich arable land out of what once was forest.

Among other things, Rupert and I are interested in how lives can be lived in intense environmental circumstances, how the present might be connected to the past and how sound can make these complex realities audible.

Angus Carlyle - text

Image © Lewis Bush.

What responses have you received to the work you are showing?

Among the various words I’ve heard used to describe The Cave Mouth have been “heavy”, “disturbing”, “harsh”, “delicate”, “meditative” and, dismayingly, “interesting”.

Quite a number of people have commented on how the work recreates the atmosphere of the dripping cave and our walk across the lagoon with some night fishermen.

Others have talked about the pace and rhythm of the subtitles or have spoken of how the sounds within the installation blur and blend with the noises bleeding in from outside.

What are you currently working on outside the College?

Rupert is currently writing a book for Bloomsbury Press – The Sound of the Sky Being Torn – which is an historical ethnography of military aircraft noise.

I am completing various parts of a long-term project based on the Picentini mountain range in Southern Italy, with an album of environmental sound recordings and several texts to be published in the summer.

Over the next two years we will both be collaborating on a new soundfilm that explores more of the island of Okinawa, working with the acoustic scientist Kozo Hiramatsu and the media artist Atsushi Nishimura.

What do you think is the effect of holding an exhibition like this at LCC?

We are very lucky at LCC to have such a vibrant and active programme of exhibitions. Even outside the degree show season there is always work to listen to and to see; and this is not just in the main gallery spaces but also in PARC, in the library and in the screenings organised by the Documentary Research Forum.

Having said that, the very scale of Staging Disorder, how it has been curated and designed, how it shifts between different media, and how it inhabits the College, makes it a particularly powerful presence. I hope it inspires and provokes.

What advice would you give to current LCC students?

I find it difficult to answer your question. The phrases that are on the tip of my tongue are things our students already know well in their hearts and demonstrate in their practice.

Can I wriggle out of a direct response by offering a quotation from the artist Robert Irwin that the LCC alumnus Dan Holdsworth recently sent me? Irwin, a visual artist whose later work involves interventions that alter the perception of space, recommended that:

“For the next week, try the best you can to pay attention to sounds. You will start hearing all these sounds coming in. Once you let them in, you’ve already done the first and most critical thing, you’ve honoured that information by including it. And by doing that, you’ve actually changed the world.”

Visit Angus Carlyle’s website

Read more about CRiSAP

Learn more about Staging Disorder

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LCC Associate Lecturer for BA (Hons) Sound Arts and Design at Tate Britain

close group resized

Iris talks to visitors at Tate Britain

Iris Garrelfs, a PhD student and Associate Lecturer on LCC’s BA (Hons) Sound Arts and Design course, recently held a week-long project at Tate Britain in which she used visitors’ personal objects and stories to create a sound installation.

Part of a Radio City residency at the gallery, ‘Listening Room’ encouraged adults and children to bring along objects and stories around the theme of hearing and listening from 2-6 February 2015.

Iris recorded the stories from Monday to Wednesday, edited the audio recordings on Thursday and created a sound installation for four channels and objects for everyone’s listening pleasure on the Friday.

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Some of the objects contributed by the public

The conversations between Iris and gallery visitors often expanded into very personal areas, focusing on childhood experiences or caring for relatives, while others were responses to exploring the sonic environment of the Tate.

Iris explains: “I was struck by the generosity of everyone, as people contributed so freely even very personal experiences.

“What came out of it for me was a kind of democratisation that happened through the stories – artists next to children, local residents next to Italian tourists. But there was also a blurring between museum visitors and myself: as I had invited people into the Listening Room, I also became a listener.”

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Exploring the objects used in ‘Listening Room’

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Listening to the installation at Tate Britain

A stereo version of the recording used in the installation was broadcast on Resonance FM and is archived here.

Read more about ‘Listening Room’ on Iris’s website

Read more about BA (Hons) Sound Arts and Design


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Staging Disorder // Beate Geissler, Geissler/Sann

Geissler Sann by Lewis Bush

From ‘Personal Kill’, Geissler/Sann, photographed by Lewis Bush.

LCC’s current showcase exhibition Staging Disorder runs until Thursday 12 March 2015, and features work by high-profile photographers and sound artists responding to ideas of modern conflict and the ‘real’.

We asked Beate Geissler of exhibiting duo Geissler/Sann to tell us more about the pair’s project ‘Personal Kill’.

Tell us a bit about the work you’re showing as part of Staging Disorder.

‘Personal Kill’ depicts interiors of so-called MOUT sites – training installations for Military Operations on Urban Terrain, used to teach close-range combat. The work references a book entitled ‘On Killing’ by Lt. Col. Dave Grossman.

He writes, “In Vietnam the term ‘personal kill’ was used to distinguish the act of killing a specific individual with a direct-fire weapon and being absolutely sure of having done it oneself. The vast majority of personal kills and the resultant trauma occur at this range.”

The resulting trauma of a ‘personal kill’ is more severe than, for example, witnessing comrades or even family getting killed, since it is within the self that we find the source of the horror and not in the other. Something nobody can train an individual for.

Geissler Sann on right by Lewis Bush

‘Personal Kill’ by Geissler/Sann in Staging Disorder at LCC. Photographed by Lewis Bush.

What drew you to tackle the subject of staged conflict?

We were very interested in the simulating qualities of those training sites, their relation to reality and virtuality. The gamification and zombiefication that takes place, which is extending, bending and creating reality, was the focus of our research. It is a feeling like walking in a movie.

When we entered those tunnel systems, it felt like descending into the collective unconscious of western society. These are sites where soldiers are trained to pull the trigger on their opposite.

Friedrich Hegel describes the transition from natural being to social and cultural subject as a violent and traumatic one. He coined the term ‘night of the world’, which he defined as an irreducible dimension of the finitude of subjectivity.

It is the abyss of negativity, the night of the eye, glimpsed in the uncanny gaze of the Other. This is a form of imagination which is the radical negativity of arbitrary freedom.

What are you currently working on outside the College?

We just published a new book ‘Volatile Smile’, which investigates the impact of technology on systems of global commerce. We were interested in the mutual impact of real and cybernetic architecture, with Chicago as its archetype.

What made Chicago a centre of speculative culture — a culture which so rapidly emerged as the ‘non-place’ where cybernetic logic bears its strangest and perhaps most powerful fruits?

What do you think is the effect of holding an exhibition like this at LCC?

Maybe students get inspired, start to raise more questions and become aware that this culture of fear which was created in the last decades is something we need to change.

What advice would you give to current LCC students?

Don’t do shiny art for glossy people.

Beate Geissler is Associate Professor and Area Coordinator Photography, University of Illinois at Chicago.

Visit the Geissler/Sann website

Read more about Staging Disorder

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