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Allons! Enfants de la PatrieX2, Acrylic on canvas 150 x 100 cm (60x40); 2023

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Mia Taylor is an artist based in London.

Into the void go receipts bank statements tax returns mulched together and reformed cat-like and leaping.

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10am -12 noon Salon
Alex Schady & Elizabeth Wright
Workshop for invited Year 4 School children & current students

11am -12pm Performance Space Sophie Gibbings / Iga Koncka

2pm - 4pm  Performance Space Serena Swanson

2pm on Install of Dreams of a New Moon
Alex Schady & Duong Thuy Nguyen

4pm - 7pm Broth / Laksa - igniting the 5th taste
Erika Tan & Adeena Mey
Invited guests only

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11am -12. Sophie Gibbings / Iga Koncka

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10.30am -4.30pm Supporting Reading Publics #2
Pat Naldi, Marc Hulson, Erika Tan & MA Fine Art students

1pm The Green Room, screening, Stage 1 2D BA Fine Art students

2pm -4pm Encounters #2
Adrian Holme & Heather Barnett MA Art & Science student workshop

2pm - 6pm The colour blue on a grey afternoon
Chris Kul-Want & MRes students
40 seats, open to all, first come first served.

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The Green Room’ Project by stage 1, 2D Fine Art students.

What happens when ’painting’ is located in an action, an event, or a performance, rather than in an ‘object. Or, when these two sites become interchangeable and malleable.

Staff and students use the Green Room as a stage set, apparatus or optical device through which they explore the performative and temporal possibilities of ‘painting’, including material translations between paint and pixel.

This project has been supported by Liquitex.

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10am- 1pm Metahorror #2
Screening: ‘Vampir-Cuadecuc’ (Pere Portabella 1970) 75mins
Marc Hulson
40 seats, open to all, first come first served

11am - 1pm Performance Space Iga Koncka

2pm - 6pm Performance Space Kelly Wu & Joe Ackerley

2pm-4pm Poor poor school
Dean Kenning & Owen Parry
40 seats, open to Art programme students, first come first served

4pm - 6pm Metahorror #3 Metahorror to Metahumour
Screening: 40 seats, open to all, first come first served

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Iga Koncka
Eight Years Old

During my performance, I will be embroidering the
tapestry cloth, on which a photograph from my first Holy
Communion is printed on. I was 8 years old when the
ceremony happened, and now I am 23, so there are 15
years between then and now. Here the aspect of
slowness is embedded in the passage of years and in the
act of careful sawing. I chose embroidery as the key
means to the performance and also as a connection to
my Polish roots, especially my grandmother – a keen
traditional craftswoman.

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Fossil: Graham Ellard & Stephen Johnstone

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11am -12.30 Digital Archive of Artists' Publishing
Ami Clarke
40 seats, open to all, first some first served

12pm -1pm Performance Space Sophie Gibbings
2pm - 5pm Performance Space Max Jefcut

2pm - 4.30pm MRes Moving Image Research in Progress
Duncan White & MRes students
Screening: 40 seats, open to all, first come first served

5.30 - 7pm Working from Archives
Graham Ellard & Stephen Johnstone
16mm Projection & talk
40 seats, open to all, first come first served

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Sophie Gibbings
Weaving leaves

I will be doing a performance piece centered around the
cycles of nature by weaving together fallen leaves. This
piece has a time element as the work will continue each
day as I continue to weave, and the leaves continue to
change. The materials that I use to make my art can be
returned to nature without harming her. This creative
act stems from an ecology of the mind and addresses
issues from the vantage point of a regenerative
planet. We are met in the cycle of winter, as both a
season in life and in nature. What nature does to slow
down and replenish is what we need to be able to do as
humans.

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10.30 -12 The Copy Project
Mick Finch, Martin Westwood, Elizabeth Wright. Ecole des beaux-arts de Paris, CSM & V&A Museum.
40 seats Open to all, first come first served.

11am - 12pm Performance Space Sophie Gibbings
Sydney Cryssell

12- 6pm Static
Sarah Cole & Annis Joslin
VR headset piece. Artists will be present to facilitate.

12:30 pm – 2:30 pm
Mark Lewis & Afterall
Meet & Greet with Académie de Beaux-Arts de Kinshasa.

5-7pm Book Launch Event for – ‘History in Contemporary art & Culture’– with special guest speaker Hew Locke
Paul O'Kane

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Sydney Crysell
Digging a hole in a repetitive manner to mimic a day of
gardening labour.
[Video]

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12pm - 1pm Serena Swanson
2pm - 3pm Lumina

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https://padlet.com/tnguyen03202111/fxzkmjxl5h7mfllo

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Dreams of a new moon [open to the public 12 -5pm]

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Dreams of a new moon [open to the public 12 -5pm]

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Central Saint Martins' Changemaker 23: Duong Thuy Nguyen MAFA

As a Changemaker at Central Saint Martins (CSM), Duong Thuy Nguyen’s goal is to give a voice to underrepresented East and Southeast Asian (ESEA) students at CSM.

Duong’s Lunar New Year event represents ESEA students, raises awareness, and provides a nostalgic sense of comfort and home for ESEA visitors.

Duong invites ESEA students within the college to reflect on conversations at the family dinner table during new year by presenting work at ‘Dreams of a New Moon’, an exhibition under the VESTIBULE programme.

Dreams of a New Moon open call will be published via CSM’s channel on the 6th December, 2022.

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Serena Swanson
Cache Control

How much control do we have over our digital footprints?

This participatory work mirrors how gestures and eye movements are tracked by corporations during our time online, exploring how our bodies become unwilling cursors when using everyday devices.

Visitors are invited to activate the live-feed by filming alternative views of the gallery space through a smartphone. The film will transmit to a digital window, which the artist will manipulate to reflect participant's movements in real time.

Following the performance, an audio piece will be created to accompany the collaborative film recording. Group credit will be given to those who take part.

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Alex Schady & Elizabeth Wright
working with intersectional community groups including Arts4Dementia and NewBeginnings Essex to explore how collective 3D making within the meta verse might provide opportunities for community building.

Workshop for Year 4 School children and current students. Two members of school staff will be present at all times.

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BROTH / LAKSA - igniting the 5th taste. Fri 20th 5pm -7pm [invite only evening session - arrive 4.30pm and catch 'Dreams of a New Moon']

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BROTH / LAKSA - igniting the 5th taste. Fri 20th 5pm -7pm [invite only evening session - arrive 4.30pm and catch 'Dreams of a New Moon']

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Hosted by Erika Tan, Adeena Mey, Wing Chan

More LAKSA less BROTH. Igniting the umami. Invited guests around dispersing particles of shrimp, bone, broth froth and Laksa haze. This will be a meeting of invited academics within UAL and from other institutions sharing research recipes, raw material, and ready-cooked products.

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Serena Swanson
Cache Control

How much control do we have over our digital footprints?

This participatory work mirrors how gestures and eye movements are tracked by corporations during our time online, exploring how our bodies become unwilling cursors when using everyday devices.

Visitors are invited to activate the live-feed by filming alternative views of the gallery space through a smartphone. The film will transmit to a digital window, which the artist will manipulate to reflect participant's movements in real time.

Following the performance, an audio piece will be created to accompany the collaborative film recording. Group credit will be given to those who take part.

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Performance Space
12 - 3pm Helena Goldwater
3pm -5pm Max Jefcut

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Max Jefcut
(a) tarrying
can you catch it, you have to catch it before it dries-
it's
g-l-i-s-t-e-n-i-n-g.

continuing.

How do you allow something to reveal itself, let
it be ‘held’ even for a second?
How do we use the experience of one thing to
trace the edge of another?
How do you catch yourself in the tangled surplus, and in the fertile economies left in its wake?

An unsure sharing, a live rehearsing, a working out, a reassembling, a pulling apart, a
conversation, a pause before continuing. Not one nor all at the exact same time.

Utilising a series of documentation—which at once exists within and outside of a collaborative
shared performance produced in 2019 and continued shared and individual practice—I will
attempt to reassemble fragments, mess, and residue that exist presently, introducing new
collective ‘research’, gesture and conversation produced as part of Slowness, inviting others to
pick up from where I leave off.

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10.30am - 1pm Artists Publications and Supporting Reading Publics Set Up
Ami Clarke, Pat Naldi, Erika Tan, Marc Hulson, Owen Parry, & MAFA Year 2 students

11.am -12.30am The Krueger Institute Dream Clinic #1
Mahenderpal Sorya
Student sign Up via moodle

12pm - 2pm Performance Space Kelly Wu & Joe Ackerley

1.30 -3pm The Krueger Institute Dream Clinic #2
Mahenderpal Sorya
Student sign Up via moodle

14.00 - 16.30 Artists Publications and Supporting Reading Publics Event
Ami Clarke, Pat Naldi, Erika Tan, Marc Hulson, Owen Parry, & MAFA Year 2 students
The final public event will be a series of collective readings, performances, activations, and encounters by students of their artists publications within their support structures.
All welcome

3pm - 6pm Performance Space Max Jefcut

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The Krueger Institute: Freddy vs. Freud Dream Clinics 

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The Krueger Institute: Freddy vs. Freud Dream Clinics 

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Join a small group seminar with Mahenderpal Sorya on dream and nightmare interpretation; exploring approaches drawn from psychoanalytic theory, 'monster theory' and ideas that emerge from the 1980s American horror film ‘A Nightmare on Elm Street’.

Two sessions 11am - 12.30 [12 students]and 1.30 -3pm [12 students] Sign up via Moodle.

Gathering Space / Screen/ Audio

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Kelly Wu and Joe Ackerley
Vacuum

The only channel of communication is through the
shoe.

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10.30am -12.30 Disruptions: power dynamics of acquisition.
Anjalie Dalal Clayton, Sara David, Esi Eshun, Lennon Mhishi, Louisa Minkin, Raksha Patel, Judy Willcocks, Siyan Zhang

40 seats, UAL staff students and invitation only.

12.30 -1pm The Collective Makers

Joseph Ijoyemi

40 seats, open to all, first come first served

11am - 1pm & 2pm -5pm Photogrammetry
Tom Allison will be working in the gallery. Drop in to see what's going on.

11am - 6pm Performance Space Jess Heritage

2pm - 5pm Sounds

Charles Nyiha

2pm-2.45 Prisoners of Love, affect, containment and alternative futures
Louisa Minkin, Lennon Mhishi, Esi Eshun , Joseph Ijoyemi, Dawn Liburd, Grace Nwankwo, Rabiya Nagi, Rihanata Bigey, Charles Nyiha.

40 seats, open to all, first come first served

3pm - 4.30

Art programme students Book via Moodle

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Jess Heritage
sc. a ffold ing;

rushing in, propping up, exiting without having noticed.

…maybe something like trying to scaffold an object always in motion. Beams and poles rush in, wobble, and clumsily attach to a feeling which (when chased towards
understanding) exits without us having noticed.

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‘Reality Bleed’ (2022)  acrylic paint and digital print on canvas (24”x34”x2”)  is the first still of the video and the last of Stanley Kubrick’s film Lolita.

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Receiving work for : Dreams of a new moon 10am -12

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Receiving work for : Dreams of a new moon 10am -12

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Duong Thuy Nguyen

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Raksha Patel  The Cardamom from Kerala    2009 29 x 26cm Acrylic on paper

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Archive Vitrine / Raksha Patel & Flora Londinensis

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Archive Vitrine / Raksha Patel & Flora Londinensis

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Full Circle 5 2020 oil on linen mounted on board 18x15cm 

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Operating somewhere between the devotional space of the sacred image or icon and the basic emotional register of the emoticon, Marc Hulson’s series of paintings of deflated, defacialized balloons collapse affect and appearance into one exquisitely tortured surface. Emotional expression slowly folds in on itself as the crude immediacy of marker pen on cheap latex is rendered in oil on canvas.

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Thea. Silent. Aspect 4:3 vertical. Duration 9.34. Performer Thea Wilcocks.

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Thea was made as a filmic version of the performance The Dresser performed originally at the Institute of Contemporary Arts, London. Jefford Horrigan rarely if ever records his live performances, preferring to make a film version and like
all adaptations there is a duty to weight a different emphasis and to change the ending.

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10am - 2pm The Krueger Institute: Prosthetic Make Up demo
Mahenderpal Sorya
All welcome to drop by.

10am - 6pm The Krueger Institute: Freddy on a Loop
Screening all 9 Nightmare on Elm Street films
40 seats All welcome to drop by.

12pm - 1pm Performance Space Sophie Gibbings

2pm - 4pm Sites of Practice
Heather Barnett, MA Art & Science bring the Growlab into the Gallery. All welcome to drop by.

2pm - 4pm New words: speculative writing
Mia Taylor [sign up via Moodle]

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10am - 11am Salon Alex Schady School Group Year 5 from Thornhill Primary School

11am - 12.30pm How do you caption smoke? #2 Workshop
Elisa Adami  Student sign up via Moodle.

11am - 12pm Performance Space Iga Koncka

1pm - 2pm Performance Space  Lumina

1-2pm Sound Sharing, Snacks and Slippy Methodologies
David Morris & MRes students

2-4pm Listening In (and Out of) Place
Angus Carlyle Sound Workshop
40 seats, open to all, first come first served

4pm - 6pm Performance Space Yadi Han

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10.30am -4.30pm Supporting Reading Publics #2
Pat Naldi, Marc Hulson & MA Fine Art students

11am - 1pm Exile #3 Susan Aldworth and signed up students

11am - 1pm Reassemblage: An Viet - George Clark
Duncan White MRes student workshop

2pm - 4pm Exile #4 Susan Aldworth and signed up students

2pm-4pm Reassemblage: An Viet screening
Duncan White & George Clark
40 seats, open to all, first come first served

3.30 - 4.40pm Performance Space Adrian Rifkin

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10am - 11.30am Imagining Futures
Mick Finch, Elena Isayev, Aoife McNiece, Olufemi Adetunji, Elizabeth Wright
40 seats, Open to staff and students, first come first served.

11.30am -1pm T-factor
Mick Finch, Adam Thorpe, Jo Wheeler
40 seats, Open to staff and students, first come first served.

2pm - 4pm Encounters #1 Adrian Holme and Heather Barnett MA Art & Science Year 2 Performance Workshop.

2pm- 6pm Performance Space Jess Heritage

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10am -12 Supporting Reading Publics Erika Tan, Pat Naldi  [MA Fine Art Year 2 only]

11am - 1pm Exile Susan Aldworth student project

2pm -4pm Writing Exchange Mathilde Roman & Duncan White 40 seats, Open to all. First come first served

2pm -5pm Install Concepts Have Teeth/ Prisoners of Love student work

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10am -1pm Metahorror [part 1] Marc Hulson & Kristaps Ancans. Invitation only.
11am - 1pm  Archivists Louisa Minkin Book via Moodle

2pm - 4pm The robots are coming and they are dressed in lace ? Jonathan Kearney & MA Fine Art Digital.
40 seats Open to all. First come first served.

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How do you caption smoke? #2 Workshop w/ Elisa Adami  11am -12.30pm

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How do you caption smoke? #2 Workshop w/ Elisa Adami  11am -12.30pm

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Artist Christine Sun Kim rewrites closed captions.

Artist standing over a white background A caption on the lower part of the screen describes the music that can be heard playing as: [mournful empty music that sounds like crying alone in an empty bar]

Artist Name, Title of Work, year, material, dimensions, provenance, credits. Few things are as rote and conventional as the captioning of artworks. And yet, in spite of their apparent neutrality and objectivity, captions fundamentally determine the ways we access (or don’t access) artworks. What if we were to rethink and expand the space of the caption? What if the writing surrounding the artwork became a new portal or a vestibule – a space for lingering on and reimaging at the threshold of the artwork? How do you caption smoke? comprises two workshops of caption writing aimed at rethinking how we write around artworks so that we access them otherwise.

During workshop #2, we will consider the practice of alt-texts (or image descriptions for non-sighted audiences) as a space of translation that generates new possibilities of engagement and interaction with artworks and audiences. Looking at the work of artists like Khairani Barokka and Christine Sun Kim, we will experiment with forms of captioning that radically expand access and transform our relationship with artworks.

10-15 seats / workshop space

Art programme students Book via Moodle

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Max Jefcut
(a) tarrying
can you catch it, you have to catch it before it dries-
it's
g-l-i-s-t-e-n-i-n-g.

continuing.

How do you allow something to reveal itself, let
it be ‘held’ even for a second?
How do we use the experience of one thing to
trace the edge of another?
How do you catch yourself in the tangled surplus, and in the fertile economies left in its wake?

An unsure sharing, a live rehearsing, a working out, a reassembling, a pulling apart, a
conversation, a pause before continuing. Not one nor all at the exact same time.

Utilising a series of documentation—which at once exists within and outside of a collaborative
shared performance produced in 2019 and continued shared and individual practice—I will
attempt to reassemble fragments, mess, and residue that exist presently, introducing new
collective ‘research’, gesture and conversation produced as part of Slowness, inviting others to
pick up from where I leave off.

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Imagining Futures 17th Jan 10am - 11.30am

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Imagining Futures 17th Jan 10am - 11.30am

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Mick Finch, Elena Isayev, Aoife McNiece, Olufemi Adetunji, Elizabeth Wright

IMAGINING FUTURES PADLET

The Imagining Futures (IF) Network aims to facilitate the opening-up and sensitive use of existing archives, to create new ones, and articulate methods for egalitarian archival practices that respect multiple and divergent narratives. Archives are embraced as intrinsically constructed and multi-vocal. This is crucial as legacies are addressed from difficult and contested pasts. IF uses the intrinsic power of the archive for its capacity to build confidence, enhance understanding and reveal connected histories, to reduce conflict within and between groups, enhancing the potential for sustainable peace. The wider ambition, through exposing cultural practices as important sites of negotiation, is to advocate for culture to be officially recognised as a human need. IF are, therefore, also building towards a co-produced policy-manifesto, in dialogue with governing bodies and supra-state organisations.

The London Lab aspect of the project is working with an Adventure Play Hub in London, developing inter-generational strategies that focus on play towards IF’s objectives and for the construction of activity templates that can be applied in other contexts.  This work will be presented in the session.

The timings work like this:

10:00 – 10:10    Lena & Mick, IF overview
10:10 – 10:20    Elizabeth, The Play Hub
10:20 – 10:35    Aoife & Olufemi, The Manifesto

10:35-10:45      Raktim Ray - Artefacts of resistance: Digital Archiving of Solidarity

40 seats
Open to staff and students

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Image: Tulsi, Raksha Patel CSM Museum & Study Collection

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Disruptions: power dynamics of acquisition 18th Jan  10.30am - 12.30 

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Disruptions: power dynamics of acquisition 18th Jan  10.30am - 12.30 

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Anjalie Dalal Clayton, Sara David, Esi Eshun, Lennon Mhishi, Louisa Minkin, Raksha Patel, Judy Willcocks, Siyan Zhang

This conversation will explore the power dynamics of acquisition in museums and galleries. From researching existing collections to surface bias to working with acquisition selection panels, commissioning new work and working for restitution and reparation.  What is a collection? What does it mean to have your work accessioned?  We will reflect on the power dynamics of selecting student work for the UAL collection and how they have been overturned as well as situating this work of disruption within its broader, urgent and ongoing political context.

40 seats, open to students and staff

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Slowness / Performance Space / everyday from 16th Jan 

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Slowness / Performance Space / everyday from 16th Jan 

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Slowness

“Why are we here?”

“Because of the dialogue.”

“And what dialogue?”

“Let’s say, it is with ‘slowness’. Slowness calls us, like an invitation to create another rhythm. A counter-rhythm. Maybe.”

Not ‘about’ slowness. Slowness is a material, or a moment, an ongoing moment, or a series of moments, that allow for a different rhythm to occur. Slowness is not necessarily an extending of a length of time into duration. It can also be a second that extends to minutes, an action, or a voice, an articulation, that is slowed. Slowness also allows for a leaving of a residue, it leaves something behind, something that follows in its wake, like the waves that follows a swimmer. The residues of slowness will follow like a gift from each person who then takes up the space, each person who enters a conversation with slowness. It is a conversation that does not begin or end with questions. The conversation is already taking place. It only matters that we enter its flow.

Programmed by Helena Goldwater and John Seth

SCHEDULE

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Lumina
Sureness

“Definitely, absolutely, certainly, sure”. In the
development of reason, it is the listener’s
acceptance that makes an assumption into a
truth: laws are built on agreements, although
the listener’s roles are often underestimated,
like in ancient philosophical Dialogues, it is
often the speaker who plays the wise and the
listener fool.
However, what if the agreement fails to come, and what would then happen to the laws that
seems governing our world?
By the way, the Ground may shake on doubts, while Earth always moves in certain: with or
without our agreements

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T-factor Mick Finch, Adam Thorpe, Jo Wheeler

T-FACTOR PADLET

T-Factor’s mission is to bring forward novel approaches to urban regeneration, focussing on the key role that temporary uses can play in creating inclusive, sustainable and thriving urban areas. We argue that the time factor in urban regeneration can become a strategic asset when it is used as a means of collective placemaking and learning – prototyping places and experiences that can inform longer term interventions.
The project works across different regeneration initiatives in Europe and beyond, developing an international platform of support and knowledge exchange. Leveraging international collaboration.  The aim is to build a portfolio of tested innovations embracing design, organisation, management, governance, funding and regulatory aspects of temporary uses.
One of the 6 city pilots is based in London, focused on the Euston/HS2 development, and the CSM team has been working with communities in Somers Town and Regent’s Park Estate.  The presentation will give general background to the T-Factor project and as well as narrating the Euston Pilots’ specific activities, sharing the example of collaboration between students from CSM’s MA Culture, Criticism and Curation and members of the Euston Citizen Social Scientists – a group of local residents that have been researching what ‘the good life’ means in Euston.

40 seats, open to staff and students

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02_MA CCC_CSS_What Matters Fair_NOV 2022.JPG

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MAFA Final Event. Artists Publications and Supporting Reading Publics. 

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MAFA Final Event. Artists Publications and Supporting Reading Publics. 

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Ami Clarke, Pat Naldi, Erika Tan, Marc Hulson, Owen Parry, & MAFA Year 2 students

To read one must be ‘somewhere’, be it at home, on the tube, library, office. Wherever one is, as Joshua Meyrowitz states, they are ‘always in place [with our bodies] dependent on the nature of the specific locality [and] bound by the laws of space and time’ (2004:21). It is the moment of encounter between the reader (publics) and publication (in all its forms) that the material is activated and performed. What physical structures, aids, and props can be built and put in place that support and encourage an in-situ temporal physical and experiential engagement between publics and publications?

10.30 - 13.00 setting up, testing, refining
14.00 - 16.30 The final public event will be a series of collective readings, performances, activations, and encounters by students of their artists publications within their support structures.

Install Space

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10.30am Intro to the project with Louisa Minkin.

You are invited to bring along exhausted, broken and remaindered material to work with together in terms of repair, mending, mulching.  Works and words made on the day will become part of the Wastemakers show as it accumulates towards its next venue

Marie-Louise Jones and Erika Trotzig will be making work in the space all day.
Please join them!

The day will be punctuated by  workshops, screenings, performance and conversations:

11am -1pm Andrea Mason

2-4pm  Mia Taylor

Some spaces are still available to Art Programme students to book via Moodle.

https://moodle.arts.ac.uk/course/view.php?id=19016&section=6

1.30 Mario Rossi’s piece with The Glasgow Improvisers Orchestra will be screened alongside BA student green screen project.

2pm Jefford Horrigan will perform The Graft.

Zoom Conversations:

3pm Migueltzinta Solis will beam in from Blackfoot Territory in Alberta, Canada.

4pm John Walter  will join us from San Francisco a chat about shonkiness, art and science.

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Jess Heritage
sc. a ffold ing;

rushing in, propping up, exiting without having noticed.

…maybe something like trying to scaffold an object always in motion. Beams and poles rush in, wobble, and clumsily attach to a feeling which (when chased towards
understanding) exits without us having noticed.

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The Regents Canal is in close proximity to CSM compromising a body of water 8.6 miles long climbing 25.5m  from Limehouse basin to were it joins The Grand Canal just north of Paddington Station.

Water finds its own level and the canal consists of 13 different levels each separated by a lock

The work would be to recreate this by means of a physical map placed within the vestibule of the gallery.

It continues a series of works which have been made around the ideas of altitude, walking and mapping.

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Looking for a group of students to work on innovative forms of archiving for the Vestibule project.

This first session will be a discussion sharing ideas for 'lively' archiving. We will need to devise a system to document and narrate goings on over the three weeks of the Vestibule event.

Can you help with re-working, photographing, photogrammetry, captioning, note-taking, uploading?

Following the initial discussion we will decide as a group how best to work over the course of the show. Art programme students Sign up via Moodle.

https://artslondon.padlet.org/lminkin/yi287w7cnkl24v45

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MAFA Year 2 student Joseph Ijoyemi will talk about his project Collective Makers

We created The Collective Makers in response to the lack of opportunity for visual emerging artists in our community. We campaign to improve diversity within the art sector to raise artist profiles and to seek new platforms and partnerships in the art industry by organising exhibitions and commissions work.

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Art programme take over of Lethaby Gallery January 2023

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Art programme take over of Lethaby Gallery January 2023

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In planning for this we had a few questions in mind:

How do we make relationships between research, knowledge exchange and practice inclusive, visible and active?

What is going on within the Programme and how does it reach out?

How do we share space for conversations across subjects and levels?

How do we gather and work together?

Vestibule reconsiders the exhibition not as an enclosed space that hosts works of art and visitors instead it understands it as a system whose growth can be exponential and unpredictable. The exhibition is not a conclusion but rather a process, shifting and in flux.

Over the course of the exhibition, the gallery will function as a storeroom, an archive, a making space, a showroom, and a classroom. A new configuration of works and events will be platformed each day. The boundaries that traditionally separate curatorial, education and research have been collapsed with multiple activities taking place simultaneously within the space.

Over the course of the exhibition staff from the Art Department at CSM  will working with students to install exhibitions, run practical workshops, screen films, host talks and lectures, engage with other academic and arts institutions and make new work all in public view.

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Contribute to a ‘dream wall’ of artworks inspired by dreams.
Mahenderpal Sorya

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Mahenderpal Sorya, रात Raat (Night), Glass (2023) 

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Mahenderpal Sorya, रात Raat (Night), Glass (2023) 

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More info on The Krueger Institute

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MRes Art: Moving Image: Research in Progress Screening 25th Jan 2pm -4pm

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MRes Art: Moving Image: Research in Progress Screening 25th Jan 2pm -4pm

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This screening event will showcase current MRes Art: Moving Image Research.  Students on the pathway will share their practice-based research through a lively screening programme highlighting the diversity and depth of new work being produced.

Fragmentary moments from works in progress exploring themes such as disaster; atmospherics; catharsis; space navigation and memory.  Working in collaboration students from across the pathway will act as a collective to share, organise and frame the unfinished, the lived and the on going conditions of contemporary Moving Image Research.

Duncan White

Tech requirements:

Projection / sound / 40 seats

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A large red and grey curtain made from moving blankets and tarpaulin will be installed within the Lethaby Gallery. Spanning the full length the gallery it will divide the space so that multiple activities can take place in close proximity without overpowering one another.      Over the course of the exhibition Alex Schady will be working with students from across the Art Programme to remake the curtain by cutting and sewing into it. This activity is open to the public.

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Metahorror. (part 2) (26th Jan 10am -1pm)

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Metahorror. (part 2) (26th Jan 10am -1pm)

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https://artslondon.padlet.org/mhulson/23tedaag2xwc8n44

Screening: ‘Vampir-Cuadecuc’ (Pere Portabella 1970) 75mins – the story of Dracula retold as a feature length experimental film. In this version of the classic story, film itself becomes a vampiric, parasitic entity, as an avant-garde film-making crew attaches itself guerrilla fashion to the cast, set and production of Jesus Franco’s ‘Count Dracula’, starring Christopher Lee.

Followed by discussion.

Up to 40 participants / audience (open call)

Requirements: screening space with projector and sound, chairs (auditorium style / layout seating)

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Poor poor School  Dean Kenning & Owen Parry 2pm -4pm 

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Poor poor School  Dean Kenning & Owen Parry 2pm -4pm 

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Dean Kenning, Owen Parry, David Koh, Eliza Duncan, Ellie Day, Ewan Hindes and Harriet Hammond

https://artslondon.padlet.org/lminkin/f30ok9cz2zplghg4

Poor poor school is run by artists and writers Dean Kenning & Owen Parry. It is an inflatable school. A diagram of a possible school. A school within a school. A 3d model of a school hollowed out of cheap polystyrene.

Dean is curator of the forthcoming ‘Poor Things’ exhibition along with Emma Hart – a show at The Fruitmarket Gallery in Edinburgh exploring sculpture and social class, which asks questions about aesthetic composition, taste and availabilism. Owen runs a ‘PooR Theory’ seminar at Central Saint Martins and makes things up. He says ‘Despite its name, PooR theory is not necessarily a “bad theory” or a “low theory”, although it can and often does challenge or undermine hierarchies of value and taste. Instead, PooR theory forms and spreads through experimental, open-ended, idiosyncratic, and sometimes super-natural processes – it is a theory in search of a theory – a language in search of a form and can thus be particularly generative for art practice.’

40 seats / AV

Students from DPS, MA and BA Fine Art + a call out to students in Owen's Poor Theory seminar to join in presenting their work/propositions around the topic poor poor school.

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Metahorror (part 3) Metahorror meets Metahumour Thursday 26th January 4pm – 6pm 

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Metahorror (part 3) Metahorror meets Metahumour Thursday 26th January 4pm – 6pm 

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https://artslondon.padlet.org/mhulson/23tedaag2xwc8n44

A special screening of new and collaborative video work by students, staff and alumni from Central Saint Martins and The Art Academy of Latvia. ‘METAHORROR’ has been developed and produced specifically for Vestibule, while ‘Parajoks’ (‘Metahumour’) was originally screened at Cinema Bize in Riga in August 2022.

4pm ‘PARAJOKS’ (Kintija Avena, Dzelde Mierkalne, Marta Viktorija Agruma, Anna Malicka and Madara Gruntmane, 2022) 43mins

5pm ‘METAHORROR’ (Kristaps Ancāns, Madara Gruntmane, Medb Mcpherson & Donna Poingdestre, Francesco Felletti, Natasha Brown, Marine One, Agate Tūna & Plastic Afterlife, Marc Hulson, 2023) 55mins

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Dreams of a new moon take down 10am -1pm 

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Dreams of a new moon take down 10am -1pm 

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Duong Thuy Nguyen

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Sound Sharing, Snacks and Slippy Methodologies 1-2pm

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Sound Sharing, Snacks and Slippy Methodologies 1-2pm

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"The usefulness of any method lies on the hand of its beholder. Our advice: don’t be afraid to let it slip from your hand." farid rakun, ruangrupa. A lunchtime sharing session devised with MRes Art: Exhibition Studies exploring questions of research, method and methodology through words, snacks and sounds.

David Morris & students

Workshop space / AV / 10-15 seats

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Listening In (and Out of) Place. Angus Carlyle Sound Workshop 2-4pm 

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Listening In (and Out of) Place. Angus Carlyle Sound Workshop 2-4pm 

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Listening In (and Out of) Place

This session will take as its focus a long term (and still live) project called Zawawa that began in 2011 with the ambition to address the auditory lives under military flight paths on the island of Okinawa where the echoes of history are palpable. With anthropologist Rupert Cox and scientist Kozo Hiramatsu, our work together evolved into an installation, a sixty minute film and various diaristic and scholarly texts, with a collaborative book, an audio album, an archive and photographic scheduled for 2023.
Exploring some of the methods involved in creating Zawawa will suggest the diverse ways of listening in place (and how sonic relations might simultaneous reveal the out of place): how fieldwork is constituted at a distance but also in the very proximate;  how field recordings can capture what is distinct yet also lose that uniqueness through becoming a musical or cinematic resource; how archival materials such as still photography and moving images can be become transformed through a pacificist / anti-war aesthetic; how experimental writing practices might create new ways of working with testimonies.

Angus Carlyle is Professor of Sound and Landscape at University of the Arts London. He studied law as an undergraduate, completed a Masters in political theory and a Doctorate on the conditions of vocalised political exchange. His two most recently published chapters have focused on soundmaps and the idea of sonic wilderness. His extended essay on acoustic camouflage will be published in an Urbanomic book in the summer of 2023. With Professor Cathy Lane, he co-wrote the oral histories In the Field (2013) and Sound arts now (2021) and co-organised the first three Sound Gender Feminism Activism conferences.

His creative work shifts between a documentary impulse and a more poetic register, it deploys text, photography and compositions based on field recording and often involves working with others. In 2022 and 2023, his experimental writings were published by JOAN, Hotel, Vanguard, Onomatopee and Gruenrekorder.

With anthropologist Rupert Cox, and scientist Kozo Hiramatsu, he has collaborated on two projects: Air Pressure (2011 – 2013) and Zawawa (2011 – ongoing); with Britta Sweers, Katrin Losleben, Paula Ryggvik Mikalsen and Za Barron, Angus is currently working on Arctic Auditories, exploring how climate change might be perceived through the hearing perceptions of local, migrant and indigenous inhabitants in North Norway.

40 seats, Projection/sound

https://researchers.arts.ac.uk/155-angus-carlyle

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The Copy Project Thurs 19th Jan 10:30 – 12:00

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The Copy Project Thurs 19th Jan 10:30 – 12:00

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Mick Finch, Martin Westwood & Elizabeth Wright
EBA, CSM, V&A

THE VALUE OF THE COPY PADLET

The Copy project activates the historic study collections of the Ecole des beaux-arts de Paris (EBA) and the V&A, in terms of current practices, technologies and discourse. It is a collaboration between students from EBA and CSM London, engaging with the plaster cast collections, respectively in La Chappelle, Paris and the V&A Cast Court, London, in collaboration with teaching staff and technicians from the 2 schools  and the curatorial staff of EBA and the V&A.

The research aspect of the project will establish a parallel between plaster casts, copies and today’s digital scans and dematerialization as data.  For example, it will take photogrammetry as one of its tools. The greater conceptual framework of the research project reflects upon cultural biases towards permanence and continuity, authenticity and tradition, the original and the copy and the mobility of the object in terms of its reprographic iterations.

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Exile - Susan Aldworth #2 11.00 - 13.00 project development                                                            14.00 - 16.00 installation of project work in Lethaby Gallery 

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Exile - Susan Aldworth #2 11.00 - 13.00 project development                                                            14.00 - 16.00 installation of project work in Lethaby Gallery 

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In EXILE we will explore the impact of exile and migration on personal identity over generations, with a focus on personal and family lived experience. Despite evidence of the positive impact of immigration on cultural and economic life in the UK over centuries, being from a migrant, exile or refugee background can impact on life chances and well-being as it still carries stigma and prejudice. Recognising that the impact of migration to the UK will differ for each generation of a family, we will explore the suitcase as a metaphor for unpacking migrant experience. The project will be based around the question – what objects would/did you pack in a suitcase if/when you were migrating to the UK? The project runs over 4 x 2 hour sessions including working with Judy Willcocks at CSM Museum and Collections on Wednesday 18 January 2.00 - 3.30pm..

12-15 places.

Open to a broad group of 2nd year postgraduate students (Unit 3) across the programme.

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Exile session 2pm -3.30 [in the study collection]

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Exile session 2pm -3.30 [in the study collection]

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Exile project with Judy Willcocks at CSM Museum & Study Collection

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Constituting an archive represents a significant moment, on which we need to reflect with care. It occurs at that moment when a relatively random collection of works, whose movement appears simply to be propelled from one creative production to the next, is at the point of becoming something more ordered and considered: an object of reflection and debate. The moment of the archive represents the end of a certain kind of creative innocence, and the beginning of a new stage of self-consciousness, of self-reflexivity in an artistic movement. Here the whole apparatus of 'a history' - periods, key figures and works, tendencies, shifts, breaks, ruptures - slips silently into place.

Stuart Hall (2001) Constituting an archive, Third Text, 15:54, 89-92, DOI: 10.1080/09528820108576903

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Reassemblage - An Viet: George Clark 23rd Jan 11am-1pm Gathering Space

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Reassemblage - An Viet: George Clark 23rd Jan 11am-1pm Gathering Space

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(student workshop)

Reassemblage - An Viet: A moving image research workshop in collaboration with George Clark, MRes Art: Moving Image, MA Fine Art and the British Artists Film and Video Study Collection (BAFVSC) will take George Clark’s work with the An Viet Archive in London as well as the Hanoi Film Institute in Vietnam as a starting point for thinking about the settling and unsettling of archival documentation and the ways in which the handling (or mis-handling) of moving image archival material is performed.

The workshop will launch this year’s Reassemblage project.

Loosely based on Trinh T Minh Ha’s concept of “speaking nearby,” Reassemblage approaches the material and practices represented by the historical collection of the BAFVSC as conceptual ecologies that embody forms of knowledge open to recontextualisation.

Reassemblage affects a dynamic relationship with the collection's material and subject area, in order to produce new knowledge beyond the scope of received conventional histories and canonical framings of artists' moving image. The methods are primarily process-based, intersectional, recombinant, and subjective.

The workshop will be followed by a public screening of George Clark’s films with a Q&A.

AV trolley / table / chairs

14 students + 3 staff (MRes Moving Image yr 1 MAFA yr 1)

Duncan White

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Afternoon install
Duong Thuy Nguyen & Alex Schady

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Yadi Han
Puppet Wrapped in Silk

a feeling of emotional bewilderment
It takes me a while to understand

like a silk-wrapped puppet
And no one to unravel it
the transformation into a butterfly
Continued silence

He is like an unknown spirit
Approaching me
So intimate that there is no answer

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 Meet & Greet with Académie de Beaux-Arts de Kinshasa 12:30 pm – 2:30 pm

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 Meet & Greet with Académie de Beaux-Arts de Kinshasa 12:30 pm – 2:30 pm

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We welcome Prof Henri Kalama Akulez, the chancellor of Académie de Beaux-Arts de Kinshasa, Democratic Republic of Congo, Prisca Tankwey and Cedrick Nzolo. All artists and educators from Kinshasa. They are joining Afterall Research Centre as institutional editorial partners and will be here to for conversations and to share knowledge on art education in the Global South.

Prof. Henri Kalama Akulez

Born in 1973, he is the chancellor of the Académie des Beaux-Arts de Kinshasa, Democratic Republic of the Congo and holds the first PhD in Fine Arts there. He has been part of said institution since 1996 as student, lecturer, professor and head of the oil painting department. His advanced studies brought him to the prestigious China Academy of Art in Hangzhou for eight years. As a painter he has been exhibiting all around the world. His atelier “Kalama-les ateliers réunis” has been pioneering in teh promotion of promising artists of the DRC since 2007 and has been changing the local art scene ever since. Henri’s main focus as a scholar as well as an artist is on the dissolution of certain stereotypes in what is generally considered as “African” art.

Cedrick Nzolo

Cedrick is a designer, visual artist, writer and resaercher who lives and works in Kinshasa. He teaches textile design, styling and fashion design in the Institut Supérieur des Arts et Métiers in Kinshasa and is the director of Congo Design Arts, an institution dedicated to the establishment of creative industries in the field of design under the label CDA Design from the DRC with which the project 26/24 brings together different designers. Nzolo graduated ind ensign from teh Haute École des Arts du Rhin in France and from the Académie des Beaux-Arts of Kinshasa in interior architecture. His transversal and multidisciplinary activity embraces various fields ranging from graphic design to fashion design, interior architecture, event coordination and research in design.

Prisca Tankwey

Born in Kinshasa in 1997, she has been active in the collective Laboratoir’Art. She graduated in 2019 from the Académie des Beaux-Arts de Kinshasa in Visual Aart. Currently she is a teaching assistant in the painting department of the Academy and works in parallel on several contemporary art projects.

40 seats, open to all, first come first served

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Image: PoL Project visit to Pitt Rivers Museum, 2022

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Prisoners of Love: Affect, containment and alternative futures.  Jan 18th 2pm -2.45pm

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Prisoners of Love: Affect, containment and alternative futures.  Jan 18th 2pm -2.45pm

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Louisa Minkin, Lennon Mhishi, Esi Eshun , Joseph Ijoyemi, Dawn Liburd, Grace Nwankwo, Rabiya Nagi, Rihanata Bigey, Charles Nyiha.

Intro - Louisa Minkin
Esi Eshun - My Quest for Quiet
Charles Nyiha - Invocation [sound piece 15 mins]

Connecting UK museum collection items with home and diasporic communities through virtual visits and art practices
A conversation about Prisoners of Love, Concepts Have Teeth and Mootookakio'ssin research projects, with work and thoughts from students who have been part of the projects. Art practices embedded in a web of relations between de/colonial histories,  technologies and digital media.

40 seats

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Reassemblage – An Viet: Screening Jan 23rd 2-4pm

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Reassemblage – An Viet: Screening Jan 23rd 2-4pm

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British Artists Film and Video Study Collection and MRes Art: Moving Image are pleased to host a screening of films by George Clark made as part of Clark’s expanded archive film project Handle with Care.

Rooted in expanded notions of archives and inspired by Trinh T. Minh Ha’s concept of ‘speaking nearby,’ 'the project aims to explore means of articulating memories from the personal to the collective, creating new ways to care for history and engaging with distinct collections, their pasts, presents and potential futures. Rather than approaching the archive through conventional notions, the project aims to encourage an understanding of the archive as a living being, a character with its own memories, dreams and desires.

tech – projection / sound

Open to all 40 seats

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Digital Archive of Artists Publishing with Ami Clarke 

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Digital Archive of Artists Publishing with Ami Clarke 

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11am - 12.30: A talk as part of Artists Publications & Supporting Reading Publics (MAFA Year 2)

The Digital Archive of Artists Publishing (DAAP) is an interactive, user-driven, searchable database of Artists’ Books and publications, that acts as a hub to engage with others, built by artists, publishers, and a community of producers in contemporary Artists’ Publishing, developed via an ethically driven design process and open-data methodology.

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A collaborative project, with the support of Wikimedia UK, it is inspired by the site of Banner Repeater’s public Archive of Artists’ Publishing on Hackney Downs train station, with 11,000 people passing a day, in response to the need for a similarly dynamic approach to archiving in an online context.

We have drawn upon the working knowledge of users and archivists alike, to develop a database with sufficient complexity, whilst remaining searchable, that affords multiple histories to develop, confronting issues of authorship and representation, whilst addressing the challenges of cataloguing often deliberately difficult to categorise materials.

DAAP is committed to challenging the politics of traditional archives that come of issues regarding inclusion and accessibility, from a post-colonial, critical gender and LGBTQI perspective. The project will work to ensure an equitable and ethical design process occurs throughout the archive development.

4o seats / projection/ zoom

14.00-16.30 Ami Clarke working with the students to prepare for the event on the 1st Feb and to see the developments and connections between both publication and support structures (Supporting Reading Publics)

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10am -12.30

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Image: Metashape Screengrab, Thomas Allison, Mootookakio'ssin project

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Tom Allison
Workshop space
Tom will be capturing and processing models in the Gallery.

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Supporting Reading Publics - #2                              (MAFA Year 2)  

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Supporting Reading Publics - #2                              (MAFA Year 2)  

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Pat Naldi, Marc Hulson, & MAFA Year 2 students

To read one must be ‘somewhere’, be it at home, on the tube, library, office. Wherever one is, as Joshua Meyrowitz states, they are ‘always in place [with our bodies] dependent on the nature of the specific locality [and] bound by the laws of space and time’ (2004:21). It is the moment of encounter between the reader (publics) and publication (in all its forms) that the material is activated and performed. What physical structures, aids, and props can be built and put in place that support and encourage an in-situ temporal physical and experiential engagement between publics and publications?

10.30-16.30
Students using combination of workshops, publication centre, and Lethaby Gallery to plan, design, and build support structures for February 1st public event.

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STATIC  Sarah Cole & Annis Joslin  12pm – 6pm 

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STATIC  Sarah Cole & Annis Joslin  12pm – 6pm 

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Watched on a VR headset, this 10-minute video was made during 2020. Developed out of workshops and conversations with survivors of domestic abuse, STATIC is an immersive exploration of time, isolation and longing, with dancing bears, intimate viewpoints and a confusion of scale.

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Monday Guest Lecture George Clark [Lecture Theatre 5.30]

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Monday Guest Lecture George Clark [Lecture Theatre 5.30]

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Rooted in expanded notions of archives and inspired by Trinh T. Minh Ha's concept of 'speaking nearby,'[1] the project aims to explore means of articulating memories from the personal to the collective, creating new ways to care for history and engaging with distinct collections, their pasts, presents and potential futures. Rather than approaching the archive through conventional notions, the project aims to encourage an understanding of the archive as a living being, a character with its own memories, dreams and desires.

Initiated through a research trip to Hội An, Ho Chi Minh City and Hanoi in June-July 2019, the project has been developed through a growing network of collaborations and exchanges between artist, curators, students and archivists in Vietnam and UK. Central to the project is an exploration of the labour of archives, their work to care for images and documents, preserve and create new ways of thinking about culture and history. The project aims to create a new series of films in collaboration with artists, workers and archivists linking two distinct collections and the day to day labour to safe-guard and preserve the intellectual, cultural, social and cinematic output of Vietnam.

The project is realised through long-term engagement with two collections; the Vietnam Film Institute (VFI) in Hanoi and the An Viet Foundation (AVF) in Hackney.

The Vietnam Film Institute (VFI) formally known as the Vietnam Documentary Film Institute, was established on the 22 nd of September 1979 under the Decision 343/CP of Vietnam's Government Council, it is the largest and oldest film archive in Vietnam. The VFI has two branches located at Ho Chi Minh City and Hanoi, Vietnam and the collection is one of largest in Southeast Asia with 80,000 16mm and 35mm film reels and over 20,000 videotapes with titles on local and international cinema. Through this project we have supported artistic research with the Vietnam Film Institute, commissioning a range of artists (Thu Uyên, Linh Hà and Tạ Minh Đức, Vân Đỗ, Nguyễn Hải Yến (Red) and Lam Duy Phương) to spend time in the VFI and develop their own responses and contribute to a new collective portrait of archival labour their.

An Việt Foundation (AVF) set up in 1981 is the largest known archive of the Vietnamese-British community in the UK being preserved by Hackney Archives. AVF was established to support Vietnamese settlement in London after the Second Indochina War, it was a central hub for Vietnamese families providing support with housing, health outreach, English language, and mother-tongue classes. The AVF housed the 'Southeast Asian Research Centre' which was established by Mr Vu Khanh Thanh, the AVF's former Director until its closure in 2017. Working with Hackney Archives the AVF is now being reconstituted as an archive for diaspora communities in London. I have been working as member of the An Viet Foundation Steering Committee (alongside Tamsin Barber, Jabez Lam, Kim Lau, Cường Phạm, Georgina Quach, Vicky Sung, Moi Tran, Toan Vu) to help establish permanent home for the collection as well as document the ongoing work to save and reformulate the AVF archive.

Working with an expanded idea of cinema - as an art of sharing images - Handle With Care proceeds through a growing circle of friendship building bridges between different art and film communities to propose new and experimental approaches to these archival and cinematic imaginaries. Embracing the notion of films as 'tools for conviviality' [2], the project will be led by sharing, making and imagining together.

These VFI residencies were undertaken in two periods September - November 2021 and March-April 2022 by the following artists:

Thu Uyên graduated from Kalamazoo College with a Critical Ethnic Studies major. Her most recent works are published in Singlit Station, Asian American Writers' Workshop, Sinister Wisdom and exhibited as a text/image collaboration within the project "tôi viết (tiếng Việt) | i write (in Vietnamese)." She's currently curating a Vietnamese folio for PANK Magazine, and trying to write
precioussummer.wordpress.com

Linh Hà is a self-taught musician who has been active since 2016. Her works aim to enrich the appreciation of the present, the relationships between humans and the connections between humans and nature. She has collaborated with artists from various art disciplines, like acting, contemporary dance, visual and motions. With each performance she invites the audience to experience a sonic, emotional journey and to contemplate essential topics, calling for engagement and reflection on social and environmental challenges.

Her work has primarily occurred in the live realm, having performed at Cryptic Presents 2020 (Glasgow), Blind Signal 2019 (Berlin), LUCfest 2018 (Taiwan), Jai Thep 2018, 2019, 2020 (Thailand) and Quest 2016, 2017, 2018 (Vietnam). She's also the singer of the live electronic project - Tiny Giant, - with whom she has performed in Vietnam, Thailand, Taiwan, South Korea, Germany, Belgium, Australia.
www.linhhafornow.com

Tạ Minh Đức is a film director and cinematographer graduated from Hanoi Academy of theater and cinema. As a filmmaker and video artist he is an active member of Hanoi Doc Lab as well as the contemporary artists' Nha San collective. Ta Minh Duc's works span video, documentary film, photography and installation. He narrates modern stories based on myths, fragmented histories or fox literature. He captures the realistic yet desperately beautiful moments of the daily. Ta Minh Duc shares his contemplations on the alienation of beings and his skepticism about human relationships. His films were granted awards and residencies, and his video art work has been exhibited in institutions in Japan, Hong Kong, Indonesia and of course Hanoi and HCMC.

Vân Đỗ is a curator and writer currently based in Hanoi. Van is a former member of the curatorial team at The Factory Contemporary Arts Center (Saigon). Since 2021, Vân has initiated and runs several independent projects under 'Curatorial Xà Quần' and 'Te Rẹt' with her fellow artists and curators. In 2022, Vân joined Á Space as Artistic Director to build programs that support young artists and curators based on the potential and existing platforms of Á Space, while developing a long-term project to rethink the possibilities of performance art. Selected exhibitions and projects include: 'Recursive Fables' (A+ WORKS of ART, Kuala Lumpur, Malaysia, upcoming); 'Till Later Letters' (Á Space, Hanoi, 2022); 'Videồ Ạt - A study of video art and hybrid video practices' (2021-); 'Tò he learns how to swim' (Bình Quới, Saigon, 2022); 'Virtual Private Realm' (Manzi Art Space, Hanoi, 2021); 'Within / Between / Beneath / Upon' (The Factory, Saigon, 2021); 'An Ode to the Microscopic' (Dcine, Saigon, 2020); 'Silent Intimacy' (The Factory, Saigon, 2019).

Nguyễn Hải Yến (Red) Red was born in her own country. The dreamscapes containing liquid memories and faces are her materials. She plays with (sign) language(s), water, mirror and emptiness and sees herself as Borges' Funes the memorious after being thrown by a half-tamed horse and becoming physically paralysed and deciding to reduce each of his past days to some seventy thousand memories.

Lâm Duy Phương (Kim) is originally a Hip-Hop dancer and a member of the Southern Hip-Hop group La Différence. Kim's movements is the disentanglement and inspiration from a variety of movement traditions, especially butoh. Kim has won many awards for Hiphop and participated in a number of performance projects, including: Hanoi New Music Festival 2018, Planet Warming Up (performed with Good Morning Vietnam), Krossing Over Arts Festival 2019, Tremplin Contest 2019, [UNDERWATER] x [TKG]> SUNRISE <EXHIBITION 2019; Jò-Joajcx with Alec Schacner and Duy Rùa, Heritage Space 2019, METHOD with H2Q Art 2019. Most recently, Kim participated in the practice in "X-Project" initiated by choreographer Ngô Thanh Phương.

The project has been developed through range of workshops, screenings, discussions and events developed with the project partners. These include:

Double Ghosts / Bóng ma kép: Screening & Talk with George Clark
Hanoi Doclab, Vietnam, 2 July 2019

Neither For Nor Against
1st Workshop with TPD Curating Students, Hanoi, 9 January 2020

Moving Image Ecologies: Cinema Archive Factory
2nd Workshop with TPD Curating Students, Hanoi, 9 September 2020

Reconstructing the Archive - TPD workshop, Hanoi
3rd & 4th Workshop with TPD, Hanoi, 1 & 8 September 2021

Hackney Major visit to the An Viet Foundation archive project
Arranged by An Viet Foundation Steering Committee and Hackney Archives, 11 February 2022

Speaking Nearby: Playing the archive
Á Space, Hanoi, 25 June 2022
Workshop with l ặ n g deep listening sessionwithLinh Hà, poetry reading by Thu Uyên and films by George Clark & Tạ Minh Đức sharing and developing material from archival residencies in Vietnam.

Footnotes:- Trinh T. Minh-ha, "Speaking Nearby", Visual Anthropology Review, Spring 1992
[1] A speaking that does not objectify, does not point to an object as if it is distant from the speaking subject or absent from the speaking place. A speaking that reflects on itself and can come very close to a subject without, however, seizing or claiming it.
[2] For me, movies are, first of all, 'tools for conviviality,' to borrow a phrase from Ivan Illich, a means of sharing images and ideas to create a circle of friends, or virtual friends. The size of the circle is less important than the intensity of the bonds among them. - Thom Andersen

Handle with Care is supported by FAMLAB (Film, Archives and Music Lab) Fund as part of British Council's Heritage of Future Past project in Viet Nam, TPD Centre for the Development of Movie Talents and University of Westminster.

Thanks to all the artists who have contributed to this project and for their invaluable support Hải Anh and Nguyen Hoang Phuong at TPD, Trần Duy Hưng and Truong Que Chi, Vân Đỗ at Á Space and the members of the An Viet Steering Committee (Tamsin Barber, Kim Lau, Cường Phạm, Georgina Quach, Vicky Sung, Toan Vu), Jabez Lam, Moi Tran (Hackney Chinese Community Service) and Etienne Joseph and Diana Le (Hackney Archives).

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Rooted in expanded notions of archives and inspired by Trinh T. Minh Ha's concept of 'speaking nearby,'[1] the project aims to explore means of articulating memories from the personal to the collective, creating new ways to care for history and engaging with distinct collections, their pasts, presents and potential futures.

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https://artslondon.padlet.org/mhulson/23tedaag2xwc8n44

Marc Hulson & Kristaps Ancāns

This series of events explores overlaps between experimental art practice and specific modes of formal play within the conventions of horror fiction. From the narrative tradition of the ‘tale within a tale’ to the ‘found-footage’ movie, the potential for metafictional reading is constantly emerging in the history of the fantastic as a genre. Arguably the appearance of supernatural entities or events within otherwise realist narratives is in and of itself subversive of dominant representational codes. The diy ethos of low budget horror meanwhile undermines the flawless simulations of commercial spectacle, while the mutant forms of experimental cinema burrow further beneath the surface, between and behind the scenes of the image.

Sessions will include screenings of relevant material, new collaborative work made specifically for Vestibule, workshop activities and discussions. The aim is to create a forum for the exchange of ideas around this subject area, with the potential for ongoing collaborative research and practice.

Session 1
Up to 10 (invited) participants in the space (CSM MAFA alumni) + up to 10 joining remotely (MA Post students, Art Academy of Latvia).

Collaborative workshop: the morning will include screenings, discussion and some speculative exercises to initiate the production of new video work.

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Francis Alÿs, When Faith Moves Mountains, performance still, 2002

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FAST FORWARD: the realities of life in the art sector

A one-day event (programme below) on negotiating the art sector, drawing on the personal experiences of researchers, artists, curators, supporters, and campaigners. The aim is to have a wide-ranging discussion so we welcome comments and questions.

If you would like a place please email Michaela Crimmin:
m.crimmin@csm.arts.ac.uk

The speakers are: artists Jade Montserrat and Anne-Marie Creamer; curators Karen Alexander, Jes Fernie, and Cecilia Wee; with Paula Orrell representing the Contemporary Visual Arts Network (CVAN); and Russell Martin and Nick Kaplony, from ArtQuest, two of the national organisations that offer support to artists.

Given the hazards and the opportunities, what is it really like to work in the art sector?

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PROGRAMME

10.00 An introduction to the day

Anne-Marie Creamer, Erika Tan

Michaela Crimmin

10.15 The social and political environment: interconnectness, working conditions, and equity

Curator, research, educator and agitator, Cecilia Wee

11.00 Artists, and working at Artquest, Russell Martin and Nick Kaplony

Comments and questions

11.45 Break for tea/coffee

12.00 Expanded practice (including working on commissions and curating exhibitions)

Curator and writer, Jes Fernie

Comments and questions

12.45 Break for lunch

1.45pm Art and activism, the power structure, and solidarity

Artist, Jade Montserrat (by video link)

2.30 Campaigning and support

Paula Orrell, curator, and director of CVAN (by video link)

Comments and questions

3.30 Break for tea

3.45 Education as a tool of change

Curator and writer, Karen Alexander

4.15 Surviving/thriving

Artist, Anne-Marie Creamer

Comments and questions, including final observations

5pm Close

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BIOGRAPHIES

Karen Alexander

Independent curator, researcher, writer, educator, and freelance consultant. Focusing on artists’ film and video, representation, gender and identity, collective memory, and the post-colonial visual politics of the African diaspora.

Anne-Marie Creamer

Artist, researcher, and Pathway Leader for the BA Fine Art Professional Diploma at Central Saint Martins; and also runs a new research UAL hub HEARD, for art, health and design. Her work experiments with cinematic and theatrical forms.

Michaela Crimmin

Independent curator, researcher, and co-director of Culture+Conflict, investigating contemporary art in response to international conflict, and ecological issues. Formerly teaching at the Royal College of Art; and head of arts at the Royal Society of Arts.

Jes Fernie

Independent curator and writer working with galleries, architectural practices, and public realm organisations on public programmes, commissioning schemes, exhibitions and residency projects across the UK and abroad.

Russell Martin

Artist and writer, and at Artquest, an Arts Council funded organisation supporting artists by providing careers information, advice, research, opportunities, and resources. There is an advice and information helpline, and a comprehensive website.

Nick Kaplony

Artist working with photography, drawing and installation in a practice concerned with inheritance and memorial; and at Artquest, an Arts Council funded project supporting artists post graduation.

Jade Montserrat

Artist whose research-led practice excavates shared histories alongside delving into her own personal narrative. Working at the intersection of art and activism through a range of media, her interests include focusing on the structures of care in institutions.

Paula Orrell

Curator, and director of national visual arts network CVAN (the National Network for Contemporary Art), with a wide knowledge of grassroots and larger government bodies. Focusing on diversity, the climate crisis, and social and economic inequalities in the art sector.

Erika Tan

Artist, researcher, curator, and Course Leader MAFA at CSM. Her work as an artist evolves from an interest in anthropology and the moving image, often informed by specific cultural, geographical or physical contexts.

Cecilia Wee

Curator, research, educator and agitator producing projects that aim to address equity, precarity and infrastructures for art and social action, primarily focussing on work with artists and designers from historically marginalised backgrounds.

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EXAMPLES OF RESEARCH

Fostering Equity in the Visual Arts Sector, Dr Cecilia Wee and Veionella Spaine for CVAN, 2022

International Connections, Amanda Cusimano and Jay Rowe for a-n The Artists Information Company and CVAN, 2022

An exceptional case: visual artists and self-employment, 2020, © 2020 Susan Jones

An exceptional case: visual artists and self-employment, 2020, © 2020 Susan Jones

Artists’ livelihoods: the artists in arts policy conundrum, 2019, Susan Jones, Manchester Metropolitan University

Livelihoods of visual artists, PDF summary of research funded by Arts Council England, 2018

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Outline
We inevitably acknowledge the huge challenges faced including climate change, inequality, the pandemic, divisive politics, mental and physical health issues, racism, isolation, and diminishing arts education.

Yet the numbers of galleries and opportunities for artists have grown exponentially since the early 1980s. There are exceptional artists and curators and supporters out there, as represented at this event. We have effective models of collaborative practice and support structures. There are scores of people working for systemic change with respect to the challenges above, alongside artists and curators bringing experimental and open-ended exploration and questions. We have well tested tools for survival, and where necessary, for resistance. At the same time, although funding is there to be had, it is highly competitive and the power structures can seem heavily weighted against the individual.
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The event is presented as a collaboration between CSM's Diploma in Professional Studies and MA Fine Art. Programmed by Michaela Crimmin, and commissioned by Anne-Marie Creamer, with Erika Tan. The event will be documented by two DPS students.

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“… A monkey and a tin can. Thirty years after the alien visit, the remains of the junk they left behind are at the center of quests and adventures, investigations and misfortunes. The growth of superstition, a department attempting to assume power through owning the junk, an organization seeking to destroy it (knowledge fallen from the sky is useless and pernicious; any discovery could only lead to evil applications). Prospectors revered as wizards. A decline in the stature of science. Abandoned ecosystems (an almost dead battery), reanimated corpses from a wide variety of time periods….”

Excerpt From: Strugatsky, Arkady. “Roadside Picnic (Rediscovered Classics)”. Apple Books.

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Joselit, D.,  April 2021 NFTs or The Readymade Reversed, October

The relation between matter and property is political. Art can function as a technology of extraction, or it can, as Duchamp’s work did, destabilize the moment of matter’s becoming-property in ways that are historically specific and aesthetically engrossing. Such destabilization may address a variety of pressing questions including the legacy of slavery (the human becoming property), economic injustice (labor becoming property), and the persistence of colonial relations in the museum (race becoming property). But what are the aesthetics of such incomplete, or traumatic, or sensual, or enraged passages of matter into property and property into matter?

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@Jasonemirandabilbao_  Foil weathered. 2018-19 

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Wastemakers on Cornucopia Street Padlet

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Mon - Only open to University staff and students

Tues-Friday
10am - 11am Only open to University staff and students
11am - 6pm PM Open to general public

Additional openings:

19 January Thursday Open till 7pm [Book Launch]

20 January Friday private event till 7pm

21 January Saturday 12 - 5pm Open to general public

25 January Wednesday Open till 7pm [screening]

1 February Wednesday 6- 8pm The Evaluation Closing Event

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Projector & Screens for showing work
Storage for works [shelving]
Install space [unistrut build]
Workshop areas
Gathering Space with fixed projector (max 40 people)
Performance  area
Stable Wifi

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Unlearning becomes a process of disengaging from the unquestioning use of political concepts - institutions such as citizen, archive, art, sovereignty… as well as categories like the new and the neutral, all of which fuel the intrinsic imperial drive to “progress’, which conditions the way world history is organised, archived, articulated and represented.
Azoulay, A., (2019) Potential History: Unlearning Imperialism, Verso, London

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An architectural and anatomical term, a vestibule is a chamber or channel leading into another: a small room leading to a larger one, the central cavity of the inner ear where our bodily apparatus for balance is housed, the area between the cheeks and teeth, and the area of the vulva surrounding the opening of the vagina and that of the urethra.

Over 4 weeks in January 2023, The Lethaby Gallery will be transformed into a vestibule for Art Programme students and staff at Central Saint Martins to share their research and practice in a space leading into the larger art school infrastructure and the public, both withholding from full view and inviting the public into the workings of the art school attached to the gallery. During this time we invite artists and thinkers to support the various communities that will be passing through this space in thinking through the questions it elicits: those concerning what it is to wait for, anticipate and prepare for a what is ahead of us, what may be encountered in the waiting, where we store the objects we bring with us as we move from one place to another, how we make the most of available resources, what is required to find and maintain our bearings, how we listen, how we voice, the space for masticating that which sustains us, how we pass waste material, the erotics of artistic practice and birthing.

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Supporting Reading Publics - #1                              (MAFA Year 2)         10am -12 / Gathering Space

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Supporting Reading Publics - #1                              (MAFA Year 2)         10am -12 / Gathering Space

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Pat Naldi & Erika Tan with 40 MAFA Year 2 students

To read one must be ‘somewhere’, be it at home, on the tube, library, office. Wherever one is, as Joshua Meyrowitz states, they are ‘always in place [with our bodies] dependent on the nature of the specific locality [and] bound by the laws of space and time’ (2004:21). It is the moment of encounter between the reader (publics) and publication (in all its forms) that the material is activated and performed. What physical structures, aids, and props can be built and put in place that support and encourage an in-situ temporal physical and experiential engagement between publics and publications?

10.00-12.00

This seminar/discussion will engage MAFA Year 2 students in developing over the following two weeks physical support structures that will host a final event on February 1st of public activations, readings, and encounters with the outcomes of their Artists’ Publications project

Staffing Erika Tan and Pat Naldi

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MA Art and Science bring the Grow Lab into the gallery, sharing work in progress from their current Sites of Practice project and inviting others to join the investigation...

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Image: Nesting Groups, Crowd Control @ arebyte (2017)

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Encounters #2: Participation (MAAS Year 2), 14.00-16.00

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Encounters #2: Participation (MAAS Year 2), 14.00-16.00

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Adrian Holme and Heather Barnett lead a workshop with students from MA Art and Science exploring the idea of the encounter... between artist and audience... between people and place... between performance and participation.

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Supporting Reading Publics - #3                              (MAFA Year 2)  

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Supporting Reading Publics - #3                              (MAFA Year 2)  

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Pat Naldi, Marc Hulson, Erika Tan & MAFA students

To read one must be ‘somewhere’, be it at home, on the tube, library, office. Wherever one is, as Joshua Meyrowitz states, they are ‘always in place [with our bodies] dependent on the nature of the specific locality [and] bound by the laws of space and time’ (2004:21). It is the moment of encounter between the reader (publics) and publication (in all its forms) that the material is activated and performed. What physical structures, aids, and props can be built and put in place that support and encourage an in-situ temporal physical and experiential engagement between publics and publications?

10.30-16.30
Students using combination of workshops, publication centre, and Lethaby Gallery to plan, design, and build support structures for February 1st public event.

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https://artslondon.padlet.org/lminkin/new-words-l2gw8iz3j2yfgz30

Mia Taylor
In this workshop we will explore the ever expanding Vestibule ecosystem and through a series of writing exercises seek to account, speculate, share and divulge the inner and outer possibilities of the gallery environs.

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The Krueger Institute 30th Jan & 1st Feb

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The Krueger Institute 30th Jan & 1st Feb

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The Krueger Institute examines the conditions that determine why, how and when we dream or experience nightmares. The relationship between dreaming, trauma and film viewing is explored through a psychoanalytic lens and in relation to the American horror film character Freddy Krueger. ‘Krueger studies’ and the A Nightmare on Elm Street series are central to engaging with questions around the purpose and meaning of nightmares and the relationship between film spectatorship and trauma. As well as revisiting the real-life cases of ‘sudden nocturnal death syndrome’ in the 1970s that inspired the film series, research broadly engages with film viewer memories of watching frightening films in childhood, ‘filmic trauma’, monster theory as well as emerging practice in the field of ‘cinema therapy’. Krueger Institute events during Vestibule include a live Krueger prosthetic make up session, a Freud vs. Freddy Dream Clinic, a collaborative dream wall and the opportunity to view memorabilia and films from the A Nightmare on Elm Street series.

Mahenderpal Sorya

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Image: Escaping the Lawscape #hypercompliance, Crowd Control @ arebyte (2017)

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Encounters #1: Performance (MAAS Year 2), 14.00-16.00

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Encounters #1: Performance (MAAS Year 2), 14.00-16.00

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Adrian Holme and Heather Barnett lead a workshop with students from MA Art and Science exploring the idea of the encounter... between artist and audience... between people and place... between performance and participation.

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The Krueger Institute/ Prosthetic make-up demo 10am -2pm.  Gathering Space

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The Krueger Institute/ Prosthetic make-up demo 10am -2pm.  Gathering Space

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Watch and ask questions as professional prosthetic make-up artist Begoña F. Martin makes up Actor Sumit Chakravati to look like 1980s Horror film character Freddy Krueger.

Mahenderpal will be working with a cinematographer in the space. The event will be filmed.

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Begona F Martin - SFX & Character Design | sfx

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Special Makeup Effects, Illustration, Character, and Concept Design.

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Freddy on loop: screening of all 9 ‘A Nightmare on Elm Street’ films  10am -6pm

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Freddy on loop: screening of all 9 ‘A Nightmare on Elm Street’ films  10am -6pm

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Watch films in the ‘A Nightmare on Elm Street’ (1984 – 2010) series as they play on loop in the gallery.

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'Things to Come', (2011, 16mm film, black & white, silent, 6:00 mins.)

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Graham Ellard and Stephen Johnstone: Working from Archives 25th Jan 5.30-7pm 

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Graham Ellard and Stephen Johnstone: Working from Archives 25th Jan 5.30-7pm 

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Graham Ellard and Stephen Johnstone have worked together since 1993 and since 2007 exclusively in 16mm film.

Their work often draws on archives, collections and historical research but takes a speculative and associative approach as atuned to coincidence and serendipity as it is to scholarly objectivity.

They will present two films, ‘Things to Come’ (2011) and ‘FOSSIL’ (2019), which centre on things lost and things discovered - respectively; a special effects sequence shot by Lazlo Moholy Nagy, and collection of plaster casts revealed after fifty years hidden behind stud walls at the Royal Academy Schools.

The films will be screened from 16mm prints and discussed as an open Q&A.

40 seats

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Catherine Yass, Sleep (Alcove), Transparency on lightbox, 2020, courtesy of the artist.  

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THE COLOR BLUE ON A GREY AFTERNOON.  24th Jan 2-6pm

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THE COLOR BLUE ON A GREY AFTERNOON.  24th Jan 2-6pm

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We propose an afternoon centred around sensitivities to and from the colour blue with reference to autofiction (especially Maggie Nelson’s Bluets), photography (e.g. Catherine Yass’ use of a blue ‘negative”), queerness in film (Derek Jarman’s late film Blue), the Blues as a musical genre and its connection to Jamaican dub, and cyanotypes, including a workshop. The workshop will be a demonstration of cyanotypes.

Organised by Christopher Kul-Want and the MRes Art students, please be in touch with the former if you are interested in helping research, and participate, in any of these events.