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REVIEWERS BIOS As of September 6, 2019
REVIEWERS BIOS As of September 6, 2019 Martina Bacigalupo, 6Mois, Paris, France Daniela Baumann, The Walther Collection, Neu-Ulm, Germany Alexa Becker, Kehrer Verlag, Heidelberg, Germany David Drake, Ffotogallery Wales, United Kingdom Catherine Edelman and Anette Skuggedal, CASE Art Fund, Chicago, IL, United States Thomas Elsen, Neue Galerie im Höhmannhaus and H2, Augsburg, Germany James Estrin, The New York Times, New York City, New York Steven Evans, FotoFest, Houston, Texas Charlie Fellowes, Edel Assanti, London, United Kingdom Sarah Gilbert, The Guardian, London, United Kingdom Esra Klein & Andrea Horvay, Fotografie Forum Frankfurt, Frankfurt, Germany Gwen Lee, Singapore International Photography Festival, Singapore Victor Levie, LevievanderMeer Graphic & Exhibition Design, Amsterdam, Netherlands Kara Milstein, TIME, New York City, New York Patricia Morvan & Patrick Codomier, Agence VU’, Paris, France Pascal Ordonneau, Private Collector, Paris, France Joaquim Paiva, Private Collector, Rio de Janeiro, Brazil Arianna Rinaldo, Cortona On The Move Photography Festival, Cortona, Italy Oliva María Rubio, La Fabrica, PHotoESPAÑA, Madrid, Spain Eve Schillo, Los Angeles County Museum of Art, Los Angeles, California Maarten Schilt, Schilt Publishing & Gallery, Amsterdam, Netherlands Mona Schubert, Fotomuseum Winterthur, Switzerland Jaehyun Seok, ArtSpace LUMOS, Daegu, Korea Xavier Soule, Galerie VU’, Agence VU’, Paris, France Claire Wearn, Photoworks, Brighton, United Kingdom Lisa Woodward and Mia Dalglish, Pictura Gallery, Bloomington, Indiana, USA Manfred Zollner, fotoMAGAZIN, Hamburg, Germany Page │ 1 Martina Bacigalupo Picture Editor, 6Mois Paris, France www.6mois.fr For the past decade, Martina Bacigalupo has lived and worked as a photographer in East Africa focusing on human rights issues. Working for governmental and non- governmental organizations, as well as the international press, she has consistently interrogated the visual dynamics between Africa and the West. -
Reynier Leyva Novo
GALLERIA CONTINUA Via del Castello 11, San Gimignano (SI), Italia tel. +390577943134 fax +390577940484 [email protected] www.galleriacontinua.com REYNIER LEYVA NOVO El peso de la muerte Opening: Saturday 13 February 2016, via del Castello 11 and via Arco dei Becci 1, 6pm–12 midnight Until 1 May 2016, Monday–Saturday, 10am–1pm / 2–7pm Galleria Continua is pleased to present the first solo exhibition by Reynier Leyva Novo in Italy. One of the latest generation of Cuban artists, Novo has already had occasion to show his work in important international events and venues such as the Havana Biennial, the Venice Biennale, MARTE Museo de Arte de El Salvador and the Liverpool Biennial. El peso de la muerte is a project specially conceived for Galleria Continua and brings together a series of new works in which investigation and procedure are key elements. Deeply poetic but also alive with questions, Novo’s work is situated in the context of the daily battles to get to the bottom of individual and collective identity. In his artistic practice he moves forward turning his back on the future, penetrating into the most hidden folds of history to offer us a fresh dialogue and a different point of observation. His works are often the result of joint efforts involving historians, cartographers, alchemists, botanists, musicians, designers, translators and military strategists, all engaged in the eternal struggle to gain freedom – individual and collective – , in the attempt to set into motion ideological mechanisms blocked by the rust and sediment that have accumulated over years of immobility and lethargy. -
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen, Jakob Fenger, Rasmus Nielsen. The Danish artist group SUPERFLEX has been working since 1993 on a series of projects to do with economic forces, democratic production conditions and self-organisation. With a diverse and complex practice that engages art, design, commerce and economic structures of dependency, the Copenhagenbased artists collective Superflex challenges the role of artists in contemporary society and explore the nature of globalization through ongoing collaborative projects. Bjørnstjerne Reuter Christiansen born 1969 Jakob Fenger born 1968 Rasmus Nielsen born 1969 Work and live in Copenhagen, Denmark & Sweden Education The Royal Academy of Fine Art in Copenhagen Solo exhibitions (selected) 2014 The Corrupt Show and The Speculative Machine, The Jumex Foundation, Mexico City, MX Superflex, Kunsthal Charlottenborg, Copenhagen 2013 Mærsk – The Opera, Horsens Art Museum, Horsens, DK 2012 7th Liverpool Biennial, Liverpool, GB Kuh, Thyssen-Bornemisza Art Contemporary, Vienna, AT Reprototypes, Triangulations and Road Tests – w. Simon Starling, Thyssen-Bornemisza Art Contemporary, Vienna, AT Prouvé in Africa / Bent, Pressed, Compressed, Welded, and then Copied, Musée d’Art Moderne, St-Etienne, FR Bankrupt Banks, Peter Blum, New York, US Modern Times Forever, 1301PE Gallery, Los Angeles, US Flooded McDonald’s, The Cube, Taipei, Taiwan 2011 COPY LIGHT – MODERN TIMES FOREVER, Galerie Jeusse Entreprise, Paris, FR Flooded McDonalds, Museum der Westkünste, Alkersum/Föhr, D Foreigners, -
Unpacking My Collection
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Unpacking My Collection Newell Marcel Harry University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Harry, Newell Marcel, Unpacking My Collection, Doctor of Creative Arts thesis, School of the Arts, English & Media, University of Wollongong, 2019. https://ro.uow.edu.au/theses1/794 Research Online is the open access institutional repository for the University of Wollongong. -
The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. -
![Design & Empire [Working Title]](https://docslib.b-cdn.net/cover/5893/design-empire-working-title-995893.webp)
Design & Empire [Working Title]
Design & Empire [working title] 24 – 26 November 2017 Liverpool, various venues Design & Empire [working title] is a weekend of events exploring the power structures embedded within contemporary and historical design, visual art, and consumer culture. Presented by Liverpool Biennial and Liverpool John Moores University and curated by Prem Krishnamurthy, Emily King, and Joasia Krysa, Design & Empire brings together practitioners from the fields of art, design, architecture, and fashion. Framed by guided city tours exploring Liverpool’s architectural past and a cooking event serving a colonial-style Christmas, the weekend presents a series of talks from leading creative voices. These conversations touch upon topics ranging from national identity and the display of museum collections, copying within creative manufacturing, distributed models of property ownership, postcolonial approaches to contemporary fashion, reuse and revaluation of bio-industrial materials, the politics of computer interfaces, and beyond. With Liverpool as both the subject and stage, Design & Empire will collaborate with its citizens in challenging aspects of Liverpool’s imperial legacy whilst reflecting on current practices within design and visual culture. All events are free with booking required via www.biennial.com Delivered in partnership with RIBA North and The Serving Library at Liverpool John Moores University’s Exhibition Research Lab. Funded by Arts Council England. Organised with support from Jana Lukavečki. Thanks to Ian Mitchell, Mike O'Shaughnessy and -
University of Brighton Guide Brighton and Sussex Medical School (BSMS) B74
WWhenhen you have finished wwiith this prospectus please recycle it. Central contact details University of Brighton Mithras House Lewes Road Brighton BN2 4AT email [email protected] telephone (01273) 644644 fax (01273) 642607 international code (+441273) UCAS institutional codes University of Brighton (BRITN) B72 University of Brighton Hastings campus (BRITN) B72 campus code U University of Brighton Guide Brighton and Sussex Medical School (BSMS) B74 There’s more online... Please refer to the website, www.brighton.ac.uk/courses for up-to-date course information. www.brighton.ac.uk A–Z course finder 02–03 Choosing the University of Brighton 04–47 Great minds 04–05 Inspirational teaching 06–07 Career-focused 08–09 Enriching experiences 10–11 A brilliant place to live 12–13 Brighton 14–15 Falmer campus 16–17 Courses at Falmer 18–19 Grand Parade campus 20–21 Courses at Grand Parade 22–23 Moulsecoomb campus 24–25 Courses at Moulsecoomb 26–29 Eastbourne 30–31 Eastbourne campus 32–33 Courses at Eastbourne 34–35 Hastings 36–37 Hastings campus 38–39 Courses at Hastings 40–41 Support for you 42–45 Your Brighton experience 46–47 All about… 48–81 How to apply 50–51 Entry requirements 52–54 University of Brighton Compact 55 Types of course 56 International students 57–59 Money 60–68 Where to live 69–76 Open days 77 Timeline 78–79 General index 80 How to find us 81 www.brighton.ac.uk 01 A–Z COURSE FINDER Accounting and Finance BSc(Hons) M 26 Criminology and Sociology BA(Hons) F 19 Aeronautical Engineering BEng(Hons) M 28 Criminology and Substance -
Etches Along the Coastline and Contains Almost 500,000 People
The Ebb and Flow of Resistance: Analysis of the Squatters' Movement and Squatted Social Centres in Brighton by E.T.C. Dee University of Madrid Sociological Research Online, 19 (4), 6 <http://www.socresonline.org.uk/19/4/6.html> DOI: 10.5153/sro.3502 Received: 10 Jul 2014 | Accepted: 10 Sep 2014 | Published: 30 Nov 2014 Abstract This article analyses a database of 55 squatted social centres in Brighton. By virtue of their public nature, these projects provide a lens through which to examine the local political squatters' movement, which was often underground, private and hidden (residential squatting in contrast is not profiled). Several relevant non-squatted spaces are also included since they were used as organisational hubs by squatters. The data was gathered from a mixture of participant observation, reference to archive materials, conversations with squatters past and present, academic sources and activist websites. The projects are assessed in turn by time period, duration, type of building occupied and location (by ward). Significant individual projects are described and two boom periods identified, namely the late 1990s and recent years. Reasons for the two peaks in activity are suggested and criticised. It is argued that social centres bloomed in the 1990s as part of the larger anti-globalisation movement and more recently as a tool of resistance against the criminalisation of squatting. Tentative conclusions are reached concerning the cycles, contexts and institutionalisation of the squatters' movement. It is suggested that the movement exists in ebbs and flows, influenced by factors both internal (such as the small, transitory nature of the milieu) and external (such as frequent evictions). -
Developing Principles for Working with Young People in Libraries
Developing Principles for Working with Young People in Libraries Marianne Bamkin, Birmingham City University Sarah McNicol, Manchester Metropolitan University 2019 Developing Principles for Working with Young People in Libraries Acknowledgements Thanks to all survey respondents and interviewees. Particular thanks to the young people from Oldham Youth Council who participated in the focus group, and to Oldham Libraries for making arrangements with the group. Thanks also to Oldham Libraries, Harris Westminster Sixth Form and the BRIT School for contributing examples of ways to implement the principles in school and public libraries. 2 Developing Principles for Working with Young People in Libraries Contents Acknowledgements ................................................................................................................................. 2 Executive Summary ................................................................................................................................. 5 Introduction ............................................................................................................................................ 8 Reading Hack ....................................................................................................................................... 8 ACE Quality Principles (QPs) ............................................................................................................... 9 Methodology .................................................................................................................................... -
A-N Magazine | Editorial & Letters
magazine london art fairs professional development schemes for artists psychogames subscriber prize research and development lauren healey talks to gallery glue collaborative relationships kevin carter, OCT 08 civic architects and louise kirkup rural initiatives focus £5.95/ 8.55 SPECIAL ‘A-N’ OFFER 10% ONLINE DISCOUNT BOOK A COURSE BY NOVEMBER 30TH 2008 QUOTE DISCOUNT CODE ‘AN0809’ TERMS AND CONDITIONS APPLY ArtSway Associates Programme ArtSway is pleased to announce the launch of the ArtSway Associates programme offering selected artists training, support and advice over the next three years. Complementing ArtSway’s exhibition residency and commissioning programme, ArtSway Associates aims to provide legacy support for a selection of artists who have previously undertaken residencies at ArtSway. Artists selected for the programme currently include: Anna Best, Boredomresearch, Elpida Hadzi-Vasileva, Anne Hardy, Simon Faithfull, Dinu Li, Hannah Maybank, Charlie Murphy and Emilia Telese. ArtSway Associates is financially supported by the Leverhulme Trust. IS FOR SATISFACTION Audiences and arts professionals can access information about the ArtSway Associates through ArtSway Xtra, S ArtSway’s regular email newsletter (send an email to [email protected]). SHORT COURSES AT CHELSEA COLLEGE OF ART AND DESIGN Please visit www.artsway.org.uk for more information. INCLUDING INTERIOR DESIGN, CURATING & ART HISTORY, TEXTILES, 3D FOR FULL LISTINGS REQUEST A BROCHURE AT WWW.CHELSEA.ARTS.AC.UK/SHORTCOURSES / PHONE 0207 514 6311 OCTOBER 2008 -
Participant Biographies
PARTICIPANT BIOGRAPHIES Silvia Battista Silvia Battista is a visual and performance artist and scholar. She is currently Lecturer in Theatre & Performance Studies and MA Performance Co-Director at Liverpool Hope University. Over the past 20 years, Battista has engaged with a multidisciplinary set of artistic languages (performance, drawing, photography and video) and research methodologies (hermeneutics, phenomenology and semiotics). Her research lies in the intersection between visual art, performance, installation and theatre; particularly in the study of meditative and ecstatic practices or technologies employed for creative and epistemological purposes. She researches, teaches and publishes on contemporary performance and art, religion and spirituality, involving audiences, readers and students in reflecting on perception, ecology and our relation to inner and outer environments. Sarah Demeuse Sarah Demeuse makes exhibitions and books, translates, writes and reads about art and beyond. In 2010, together with Manuela Moscoso, she founded Rivet, an office focusing on longer-term projects in close collaboration with artists, often in formats and media other than exhibitions. Demeuse was a member of the curatorial team for the 9th Mercosul Biennial Porto Alegre and has independently worked on a variety of exhibition and mediation projects in Argentina (dixit, Agatha Costure), Brasil (32nd Bienal de São Paulo), Mexico (Museo de Arte Carrillo Gil), Spain (Espai Cultural Caja Madrid) and the US. (Goethe Institut New York, ISCP, Kiria Koula, P!, A.I.R.). She has taught the Exhibition Making Practicum at the Master in Curatorial Practice Program at SVA and teaches a hybrid studio-seminar at Barnard College about writing and graphic design. Ayesha Hameed Ayesha Hameed’s performance, audio, video and written work explores contemporary borders and migration, critical race theory and visual cultures of the Black Atlantic. -
Liverpool Biennial 2018
BIENNIAL PARTNER EXHIBITION EXHIBITIONS Liverpool 1 9 WORLDS WITHIN 21 Tate Liverpool LJMU’s Exhibition WORLDS John Moores Royal Albert Dock, Research Lab Painting Prize 2018 Liverpool Waterfront LJMU’s John Lennon Some of these sites Walker Art Gallery L3 4BB Art & Design Building are open at irregular William Brown Street Biennial Duckinfield Street times or for special L3 8EL 2 L3 5RD events only. Refer to Open Eye Gallery p.37 for details. 23 19 Mann Island, 10 Bloomberg New Liverpool Waterfront Blackburne House 7 Contemporaries 2018 2018 L3 1BP Blackburne Place St George’s Hall LJMU’s John Lennon L8 7PE St George’s Place Art & Design Building 3 L1 1JJ Duckinfield Street RIBA North – National 11 L3 5RD Architecture Centre The Oratory 8 21 Mann Island, St James Mt L1 7AZ Victoria Gallery 24 Liverpool Waterfront & Museum This is Shanghai L3 1BP 12 Ashton Street, Mann Island & Liverpool University of The Cunard Building 4 Metropolitan Liverpool L3 5RF Liverpool Waterfront Bluecoat Cathedral Plateau School Lane L1 3BX Mount Pleasant 17 L3 5TQ Chalybeate Spring EXISTING 5 St James’ Gardens COMMISSIONS FACT 13 L1 7A Z 88 Wood Street Resilience Garden L1 4DQ 75–77 Granby Street 18 25 L8 2TX Town Hall Mersey Ferries 6 (Open Saturdays only) High Street L2 3SW Terminal The Playhouse Pier Head, Georges Theatre 14 19 Parade L3 1DP Williamson Square Invisible Wind Central Library L1 1EL Factory William Brown Street 26 (until 7 October) 3 Regent Road L3 8EW George’s Dock L3 7DS Ventilation Tower 7 20 George’s Dock Way St George’s Hall 15 World