Paul and special guest artist Hew Locke will be in conversation, hosted and moderated by Jon Cairns (CSM, Fine Art). 

The panel will present, discuss, and answer questions from the audience concerning Hew’s practice, Paul’s book, and Jon’s critical concerns. 

This first part of the event will last about an hour and will be followed by a drink, chat and an opportunity to buy copies of the book. 

 

The Writing Exchange is intended to act as a platform for sharing new approaches to critical writing on the moving image.  Mathilde will discuss her book in dialogue with Duncan White who will also read from his book, A Certain Slant of Light (Holland House Books, 2021).

40 seats

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

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

 

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

 

Curator and writer, Karen Alexander

 

4.15 Surviving/thriving

Artist, Anne-Marie Creamer

Comments and questions, including final observations 

 

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. 

 

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.

 

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. 

 

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.

 

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.

 

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.

 

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. 

 

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. 

 

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. 

 

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

__________________

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.
___________________________

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.

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.

Followed by discussion.

Up to 40 participants / audience (open call) 

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

 

“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

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

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

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.

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.  

40 seats, open to students and staff

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

 

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

 
Alumni Marie-Louise Jones and Erika Trotzig will be making work in the space. Please join them! Erika makes precarious structures, using temporary and unstable construction methods. 

Marie Louise recently returned from Labverde UAL AER Programme in the Amazon Rainforest and has been experimenting with 3D printing ecomaterials.

 

John Walter and Migueltzinta Solis will beam in from North America towards the end of the day for a chat about shonkiness and perversity as strategies.

Artists featured include:
John Walter
Amanda Jobson
Ian Dawson
Donna Mitchell
Jasone Miranda Bilbao
Compound 13 Lab
Sharmila Samant
Aqui Thami
Louisa Minkin
Migueltzinta Solis
Andrea Mason
Ben Parry
Marie-Louise Jones
Erika Trotzig
Mia Taylor
Mario Rossi

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

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

 

 

 

 12-15 places.

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

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

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. 

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.

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

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

 

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.

During workshop #1, Marenka Thompson-Odlum will discuss museological conventions of captioning and labelling, and the taxonomies of coloniality that shape and sustain them. We will test and try out forms of writing that criticise and undo these conventions, while opening up space to tell new stories.

Elisa Adami - Afterall
Marenka Thompson-Odlum Pitt Rivers Museum

Art programme students Book via Moodle 

10-15 Group

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

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.  

"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

 

tech – projection / sound

 
Open to all 40 seats

 

+

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

 

The Green Room

 

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.

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

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) 

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

 

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. 

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

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!

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

 

Zoom Conversations:

 

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

 

 

 

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.

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