BIO AND ABSTRACT
In Dialogue Presenter’s Abstracts and Biographies
Expanding from the previous incarnations of our archLIVE project, we want to explore how dialogue as a working method can be encouraged outside of the traditional conference format. The structure of the symposium can be at times a didactic vehicle for dialogues with a speaker offering to an audience a singular narrative. We wish to shake up this relationship of speaker and audience, by providing an alternative platform that encourages the ‘public’ to vocalise and visualise their thoughts to each other.
Key to our investigations will inevitably be how our own methods of working collectively are developed through dialogue and conversational modes. In Dialogue, then, not only offers us the opportunity to stage investigations into dialogue in a broad and abstract sense, but it challenges us to interrogate our own methods.
Our 2‐day research programme will include a specifically designed multi-person cloak for conference participants to wear in the Nottingham Contemporary exhibition space, sound recordings of participants’ discussions within breaks, and the gathering of own reactions to material offered by conference members. This will culminate with a presentation of our findings at the end of the second day. Our research focus will be on demystifying themes and questions raised in the symposium as well as demanding the creation of new dialogues outside of this “academic” space.
20//20 is an artistic and curatorial collective with a focus on creating collaborative exchanges in contemporary art outside conventional gallery spaces. The work of the Collective seeks to generate a variety of modes of practice including artwork, exhibition, publication and debate.
The collective has five members: Lauren Barnes, Marianne Forrest, Lotte Johnson, Meghan Goodeve and Rachel Stratton. Since forming in 2011, 20//20 has staged projects in spaces such as the Bethnal Green Working Men’s Club, Tooting Market and Boxpark at Shoreditch.
Bartram and O’Neill
Negotiating a collaborative relationship has enormous benefits: a sense of comradery, when the making of art can be an isolating process; the ongoing dialogue and critique that can add confidence to a work when it has been tested by two minds rather than one; the knowledge of shared responsibility. There are also huge risks that can be so great they often remain unspoken: trust, ownership, authorship. In a new work developed for In Dialogue Bartram & O’Neill will explore some of the complications of collaboration in a performance dialogue which will take place on a series of blackboards over the course of a day. This durational work will allow both artists and viewers to reflect on the issues raised by collaborative working through a visual dialogue.
Angela Bartram and Mary O’Neill are a collaborative partnership whose work centres on art and ethics and the documentation of performance through situated writing and text that moves beyond formal academic conventions. They offer an alternative creative strategy to the binaries of theory and practice, academic and artist, event and text. The site of their practice is not just the physical location, but includes the artist’s body, the anticipated audience, the environment, the document, and the atmosphere. Rather than prioritising one form over another, each manifestation is seen as having generative potential for further creative responses, creating an ongoing work.
BartramO’Neill have exhibited, performed and published nationally and internationally both independently and collaboratively.
Most recently they performed after a residency at Grace Exhibition Space New York 2012, as part of Low Lives 4 streamed event, at ‘BLOP 2012’ at Arnolfini Bristol, at ‘Action Art Now’ for O U I International performance festival in York, 2011, and at ‘The Future Can Wait’ in London, 2009. Both are senior lecturers at the University of Lincoln in the department of fine art. Bartram has an expansive independent exhibition profile including ‘The Animal Gaze’ (2011 and 2008), ‘East Goes East,’ Krakow (2010), ‘East International 2009,’ ‘Animalism’ at the National Media Museum (2009), amongst others. O’Neill has published works on performance, ephemerality, mourning, ethics and contemporary art, and the conditions in the twentieth century which contributed to the development of increasingly transient art forms.
Talking together publicly involves what Hannah Arendt calls an ‘enlarged way of thinking’, dependant on the presence of others whose perspectives must be taken into consideration. To speak in public … turns those impressions and reflections into shared ideas and qualities, open to persuasion, judgement and alteration, qualities which may induce others to enter new experiences… (Wallace Heim, Navigating Voices, 2005).
Rebecca Beinart offers a workshop to playfully explore enlarged ways of listening and speaking together. The workshop will include listening exercises, games and discussion, moving from personal experiences of listening and speaking into reflections on the politics and power inherent in ‘being heard’. We will unpick the question of who is and isn’t heard and why (particularly in the public realms of art and politics). We will experiment with ways that we could create spaces for meaningful conversation with others – including people, ideas, animals, plants, pasts and futures.
This will be an immersive workshop, drawing on the knowledge and experience each person brings with them. Rebecca will also bring in references from different fields – including sound, art and political theory – to contextualise the conversation and give participants points of departure for further investigation.
Some of the exercises and themes for the workshop are taken from a session on the ear in ‘The Body Politic’ course, co-developed with Sara Motta (Politics Lecturer, Nottingham University).
Rebecca Beinart is an artist and educator based in Nottingham. She studied a Bachelors of Arts at Nottingham Trent University (2003) and a Masters of Arts in Arts and Ecology at Dartington School of Art (2008). Rebecca’s projects take the form of live events in public places, installations, and interventions, exploring the territory between art, ecology and politics. Her practice investigates places, and their inhabitants. Through repeated experiments in specific sites she seeks to interrupt her own assumptions about a place and understand perspectives she could not see alone. Rebecca’s methodologies frequently involve working with others. Sometimes the people she works with are collaborators, partners in imagining and shaping the work from the beginning. Sometimes they accidentally come across her, and are conspirators or witnesses for the duration of an action.
Rebecca is involved with several ongoing collaborations and collectives. Since 2008, she has worked with her sister, artist Katy Beinart, on the ‘Origination’ project, investigating migration, memory and place-making. She is currently working with Nottingham-based collective The Islanders as part of the Wasteland Twinning network: http://wasteland-twinning.net/
Julia Davis and Helena Tomlin
We hope to engage participants in a brief discussion of why we have been working in Poland together, and whether it is possible to develop a dialogue with communities in Lodz to explore the dislocation and confusion of identity that arises when arriving in a city mythologized by family. We will be concerned with the complexities of dialogue between each twin and how this affects our understanding of the ‘other’, whilst simultaneously tackling fluid identities that concern both ethnicity and the construction and deconstruction of sibling rivalries. Both of these issues were of deep fascination to Nazi perpetrators of terror. Our dialogue is as much, however, concerned with past and present and how these dynamic and sometimes dangerous questions of history/histories can be considered to impact on the ‘here and now’.
The paper will precede the playing of a 7 minute clip, chosen at random, through audience collaboration, from the 6 hour sound piece made in Lodz that we are currently developing. This piece explores a frenzied, painful and at times silent journey that attempts to ‘map’ the last days of family members known to have been murdered in Lodz. The near impossible task of unravelling the twin voices; at one time so similar but always slightly different, is in need of possible translation, and this we would like to test out with the symposium audience. At some points humorous at others very dark, we welcome the opportunity to discuss with our symposium colleagues.
Our collaborative practice concerns the different ways in which histories and memories are embedded in liminal and architectural spaces or collections of objects. Central to our work is the question of the agency of the artist as mediator, archivist and activist and we seek to unfix the twin stereotype. We are singled out as different as twins whilst at the very same time being asked and asking ourselves to assimilate into a world of singletons.
We chart dangerous territory as we return to experiences of enforced separation and enforced togetherness through our creative collaboration. This has made us keenly aware of the pervading insistence to see things as one or the other, either-or. Within our collaboration this binary has also been examined in relationship to the Shoah because of our inherited culture.
Following intensive periods of dialogue our exchanges have formed a series of narratives between us – interweaving our experiences as storyteller and audience, as identical twin and assimilated singletons. Often we act as catalysts for each other and up until now have responded symbiotically to each other’s pieces, often produced within the role of writer and visual artist. In our current practice we are exploring the merging of these roles and have exhibited and published in the UK and Europe, including at Cornerhouse, Manchester, Kultur Bunker, Cologne and with the Belarus State Theatre.
The first is a Live Art Performance called ‘Cake Hole’
In this performance I cut holes in donuts while members of the audience take pictures on a communal camera that is passed around. The simple act of cutting holes in donuts is based on a slang term in activist circles meaning doing something that has little or no real impact. The title of the work is also from a slang term. Generally expressed as ‘shut your cakehole’ it means ‘shut up and keep your opinions to yourself’. The audience participation means that they go beyond mere spectatorship to become part of the performance, and the pictures are then posted on on-line social networking sites and web sites for another, wider on-line audience.
I am an artist and my work has been hung, played and performed in a few of the world’s right places and a couple of deliciously wrong ones. Born outside of Boston in The U.S.A, I moved to Paris and lived there for a couple of years before settling for London as my base of operations. For me, fantasy and illusion are not contradictions of reality, but instead an integral part of our everyday lives. There is a real Peter Pan Syndrome at play in my work and I guess I would consider myself to be a ‘carnival sideshow conceptualist’, combining a bare-bones formal conceptualism with an eternally adolescent, prank DIY comic-approach. At the core of this work is an attention to the flickering, fading definition of our lives as dictated by the computer monitor and the rapid reply of instant messaging. I strive, not to break down these introverted, often self-imposed boundaries, but to look at how dataflow from the virtual realm impacts on the significance and symbolism of real-world human senses. But in doing so, I have begun to generate unexpected questions about how art might be able to inscribe itself on the surface of reality- not to represent itself on the surface of reality –not to represent reality, nor to duplicate it, but to replace it.
I have an Undergraduate Certificate from Oxford University and have a B.A. Fine Art from Central Saint Martins in London. I also have professional qualifications from City & Guilds and The London College of Communication. My work has been shown nationally and internationally, working with arts organisations in the U.S.A, Singapore, Portugal, Germany, Ireland and England. I have also shown work in projects at major art institutions such as The Whitechapel Gallery, Tate Modern and The Serpentine Gallery. I curently an associate artist at AltMFA and have worked as part of collectives suchThe Red Velvet Curtain Cult, ArtEvict andThe Biennial Project.
I will bring some past accounts of places I have experienced and will enter into a dialogue with myself and others about those places. The event of the In Dialogue conference will reveal what more can be known about places there and then through being there together here and now. The dialogue will serve as a psycho-therapeutic travelogue as senses of self become a little clearer through working things out in dialogue. I will try and be honest, although sometimes one doesn’t get what one expects by bearing ones soul. This perhaps depends on how able we are to reveal the ontologies of place together in the present moment. I will employ elements of the stream of consciousness and the improvisational in an attempt to locate agency, but I am all too aware that as soon as we think we have got a grip on what a place really means to us, the stability of agency shifts again. I guess the best that I can offer is two or three half decent stories of self. A dialogic social space will be created that even the audience members who remained silent can say they were producers of. For that moment, in that space, we can perhaps lay claim to the formation of a community – asking, in the words of Jean Luc-Nancy, ‘How can we be receptive to the meaning of our multiple, dispersed, mortally fragmented existences, which nonetheless only make sense by existing in common? (Nancy 1991, in Kaye 2005: 154).
Steve Fossey is an artist based in the East Midlands. After graduating with a BA in Contemporary Arts in 2003 he began an MA in Performance and Live Art at Nottingham Trent University under the supervision of Professor John Newling. Upon completing the MA in 2005 Fossey worked in institutions including Nottingham Castle, Djanogly and Bonington Galleries whilst maintaining his own practice and teaching. This contact with other artists, curators and audiences helped inform an arts practice concerned with the dynamics of place and the construction of agency thereof. In 2011 he was awarded a fully funded scholarship by the University of Northampton to undertake practice led PhD research into site specificity and the performative processes and practices of place.
The research asks how aesthetic and conceptual forms can be devised by embodying places and exploring experience through subsequent dialogues with audiences. As well as funding from educational institutions Fossey has also been commissioned by the Arts Council, the Future Factory and the BBC among others, showing work nationally and internationally in a range of disciplines from performance to installation and moving image. He has taught across various further and higher education institutes, whilst also delivering conference papers and performances nationally at the Oriel Mostyn Gallery in Wales, the Central School of Speech and Drama, University of London and the University of Hull among others. He has had work published in academic journals and continues to produce forms that destabilize understandings and possibilities of the events of place.
Julie Fournier Lévesque
Undictation in Dialogue
Since 2009, I have performed alone, or asked people to perform with me, in a series of works based on undictations. An undictationis an invented word; it refers to the act of writing down a passage that is read aloud in an incomprehensible, foreign language. Neither a transcription nor a translation, an undictation is a phonetically personalized version of a spoken language. It reflects the sensitivity of one’s personal linguistic background, by showing how one perceives sounds and transforms them into a new composition of words. For the In Dialogue International Symposium, I will invite the attendees of the conference to participate in a public session of undictation, through Skype. I will read a short speech I have written in Québécois-French and the participants will be invited to “undictate” what they are listening to, by providing their written interpretation of it. Then, I will ask a volunteer from the symposium to read his/her undictation aloud and the attendees, including myself, will re-undictate this new text. Afterwards, all participants will be asked to read out loud, simultaneously the last undictation, in an attempt to make our voices become one.
I am a native French speaker from Québec, Canada. I earned a Master of Fine Arts from the Valand School of Fine Arts in 2011 (Göteborg, Sweden) and a Bachelor of Fine Arts with a major in sculpture from Concordia University (Montréal, Canada), in 2009. My art raises universal questions as it reflects upon my personal experience embedded within specific, socio-linguistic contexts. If the viewer’s experience is undeniably moderated by his/her ability to understand a given language, then what remains after the inevitable loss in translation of a work based on a specific language or cultural background? My awareness of being simultaneously a member of a linguistic minority and majority motivates me to try to answer these questions regarding personal and cultural identity. My work makes use of various media: hand-made sculptural objects such as megaphones, sound installations, and performances – including speech or writing – and act as channels for my communication. I use them to express my specific interests in themes related to verbal communication such as archived languages, loss and gain through translation, or language’s power play.
Lone Duets: Gestures that speak & collaboration in the spacings.
Between 2005, Richard Hancock and myself, Traci Kelly, were engaged in a game of ‘performance chess’, a viral investigation into the form and nature of collaboration.
Employing contamination and infection as dramaturgical devices, a series of six solo performances titled Lone Duets were cultivated, made in turn by Hancock & Kelly in response to the work of the other, each artist grappling for the space between. The resulting works reveal a series of visceral, intimate, and queer events.
Gestures that speak & collaboration in the spacings will discuss the first pair of performances from the Lone Duets series Dermographia (2005) and In Season (2006). As a duet the works operate dialogically as a call and reply between speaking and listening subjects and draw upon Jean-Luc Nancy’s text on Sponsio and Responsio as he declares:
To the sponsio of the one responds the re-sponsio of the other. The response is first commitment in return – in return for that which has committed us, or which has committed itself for us, the world, existence, others. It is the exchange of the guarantee without guarantee to make sense with one another. Mutual oath of truthfulness, without which no speech, no sight would even be possible. Thus, when one responds for, one responds also to – to a call, to an invitation, to a demand or a challenge of sense.
Further theoretical reference points will include Erin Manning’s Politics of Touch, which focuses on subject invention and Derrida’s spacings and intervals in relation to both touch and language.
 NANCY, JEAN-LUC, Spring 1999. Responding for Existence. Studies in Practical Philosophy: Journal of Ethical and Political Philosophy, Vol. No.1. Spring 1999.
 MANNING, E, 2007. Politics of Touch: Sense, Movement, Sovereignity. Minnesota, London, University of Minnesota Press.
matthews and allen
preface n. see repetition
repetition n. see difference
difference n. see différance
différance n. see deferment
deferment n. see footnote
The collaboration between two artists raises questions
relating to our understanding of artistic identity. The
collective label matthews & allen,
Howard & Elsie, Judith & Linda, suggests the abandonment displacement of individual ‘identity’. and constructs what Ulay and Abramovic refer to as the third hand. This is essentially
a third ‘identity’ that is greater than the sum of its
matthews and allen’s,
Howard & Elsie’s, Judith & Linda’s,
formalized in 2008, centres on interaction in
the public realm, appropriating contemporary modes of
communication that may be perceived as informing or
dictating our understanding of ‘
identity’ ‘meaning’ in a
The ‘performance’ ‘
identityies’ of matthews & allen, Howard & Elsie, Judith & Linda, parodiesy the complexity
and autocracy ambiguity of ‘
authorial voice within contemporary society
matthews & allen intervene physically and
intellectually with established cultural codes and
practices in order to explore attitudes towards artistic
preconceptions and social interaction.
1 matthews and allen
Come sit with me.
Choose an old photograph.
Lets find the story behind the image.
Negotiate where it would bodily belong.
As I attach it to your skin.
An intimate 1:1 live art experience, which explores the evolving methods of storytelling in contrast to our changing relationships with photographs. Some will be funny, some sad, some scary or surreal in relation to the image you choose and hopeful of imparting an assortment of cautionary tales to each individual. Oral traditions of storytelling, in parallel with photographs, have evolved. Language has morphed and adapted. The space between us has changed.
In return for your time, all I’d ask for is the opportunity for you to wear a reminder of this shared experience upon your body. As with the old adage, that a picture can tell a thousand words, so would a simple tattooed image, transferred onto their chosen body part. Being a transfer, this image will soon wear away to nothing, just like the words I speak and disappear away into the ether. But unlike this temporary image, I would hope that the memory of this experience, this emphatic imprint would form a more permanent part of our now shared history.
Rachel Parry is a multidisciplinary artist, emerging curator and educator. She is currently a studio member of BACKLIT Artist Studios and Gallery, Nottingham and the Art Director for I’m Not From London events.Rachel graduated from Northumbria University in Fine Art BA (hons)and went on to exhibit both nationally and internationally; Creating pieces of body based live art, performances, multimedia projects and visual art installations. Some of which is currently being archived as part of,Into The future: Sustainable Access to the National Review of Live Art. Rachel has received various funding for her projects including The Arts Council of England. Recent funding has enabled her to partake in a residency at Graces Exhibition Space, Brooklyn and at EXIT Art, New York in April 2012.Rachel has given artist talks, led workshops and has received mentoring from established artists. Noteworthy invitations have enabled her to create new work with Guillermo Gomez Pena with La Pocha Nostra, Ernst Fisher and Helen Spackman of LEBNIZ. She has also performed in Ron Athey’s ‘Gift of the Spirit’, Aine Philips ‘Louder than Bombs’ and Stacy Makishi’s ‘D.I.Y: Creative Sauce’.
A Wearable Sound Machine
This performance will bring together three components, component 1 is a machine created from a wearable p/a brought back by myself from China in 2010. Whilst in Chongqing I observed many young women using these devices to implore people to enter shops and buy.
Component 2 is a series of recordings I have made that immerse us in the intensities of human experience, for example people en masse or bizarre man made sounds from cities which I will update by collecting sounds from Nottingham.
Component 3 is me, I am mobile and defined by the sound which pools around me the sound defines the performance space and is intimate. As bearer of the device I am the one seeking interaction and connection with others via dialogue and thereby create common ground even as we encounter each others alterity. The dialogue will be improvised but based around topics that share the thread of our collective humanity, sometimes rescuer sometimes rescued together we can explore the anxieties of urban living.
The performance will take place in the in-between spaces, corridors, staircases, doorways, places that are transitory.
I am a performance, prose and digital media artist currently researching for my PhD at Loughborough University.
Prior to my doctoral research I studied; Fine art and contemporary critical theory at Goldsmiths College of Art, London; Masters in Art & Design, Loughborough University.
Generally my artistic output has been ephemeral and has taken the form of live performances at organised events; such as Dead Good Poets Society (Liverpool), Noiz in Zion (Leicester), Apples & Snakes (Leicester), Speech Acts & Polyverse Poetry Festival (Loughborough University). I also perform in the urban environment in London (on the tube network), in Manchester (the streets around Piccadilly Circus), in Loughborough (the shopping district). I produced film shorts for channel 4 Late Night, 2001, and was part of a conference and exhibition titled Cyberspace & The Myth of Gender in Chongqing (China 2010). I have had prose published in the on-line journal Great Works and recently I was a delegate at the inter-disciplinary.net’s conference on performance at the end of 2011 in Prague, they will be publishing my paper at the start of 2012. Most recently I presented a paper on the theme of ‘actuals’ at a Politicised Practice Research Group Symposium on Radical Aesthetics and performed a durational piece as part of Circuit performance platform at DMU (2012).
On a more personal level I continue to be passionately interested in those side-lined or repressed as this is my commitment as a feminist theorist/ artist. I am expecting my second child in a few weeks, becoming a mother has further ‘radicalised’ me whilst simultaneously I have become ‘quieter!’
Trio: A Self-Interview is a performance that takes the form of a self-interview of the collective, which acts as a mode for questioning, understanding and performing our collaboration. The text is based on several self-interviews that took place during our creative process and served as methodological tools for our performances. The performance derives from texts developed in June 2009 and in April 2012, therefore making explicit a gap in both our personal and collective memory, as well as interrogating our collaborative process through past, present and future times.
We will discuss issues arising from our collaboration including the relationship between talking and doing, different modes of communication, misunderstandings and failures, responsibility and decision-making. The members of the collective are both interviewers and interviewees –exchanging roles and seeking identities. Questioning issues of authorship and non-hierarchical working structures, we are trying to define and organise the fluid boundaries that exist within our modes of production.
Seeking alternative ways to work together (not (always) being (able to be) at the same place at the same time), we have formed a virtual rehearsal space that acts as a platform for collaborative performance practice. The resulting blog is a curious archive. It flattens the perception of time as a linear development and presents it as fragmented and incomplete. It gives the illusion of Trio as a coherent entity (we are all on here together), but has yet to overcome its differences and inconsistencies.
Trio is a performance collective that was formed in 2009 while the members were studying for their masters degrees in Dance Theatre: The Body in Performance studies at TrinityLaban (London). All members share an interest in researching the relationship between practice and theory. Stella Dimitrakopoulou (Greece) and Elena Koukoli (Greece) are currently pursuing practice based PhD’s in Creative Practice: Dance at TrinityLaban Conservatoire of Music and Dance, Antje Hildebrandt (Germany) is also doing a practice-led PhD in the research cluster Creative Processes in the Performing Arts at the University of Wolverhampton, and Michelle Lynch (USA) is an artist, arts manager and curator based in San Francisco. Trio’s work is situated between conceptual dance, performance and Live Art and is reflective of our diverse backgrounds and research.
Trio interests: asking people ‘Are you on your way to school?’, Beyonce, computers, copying and pasting, Cunningham, dancing, domestic objects, gaffa tape, Geometry, Geography and Knowledge, Godard Films, Kylie Minogue, Madonna, Matthew Bourne, pop music, stripes, text, Triadic Ballet, Trio A, Trio (German band from the ‘80s that produced the song Da Da Da)
Trio Collective has presented work internationally and nationally in the Bonnie Bird Theatre at Laban (London), Robin Howard Theatre at The Place (London), Southwark Playhouse (London), Chisenhale Dance Space (London), The Arena Theatre (Wolverhampton), PK Theatre (Athens) and at SODAWORKS postgraduate platform in Berlin (Germany).
The term Glossolalia or more commonly known as, ‘Speaking in Tongues’ is embraced within these investigational works. I define this work practice as,’ an undertaking of an action that results in the forming of an abstract visual language. My faculty is to understand the material language and henceforth to understand something of the inadequacies of all forms of language. Each person has his or her own language and the works interpretation may be both non-native and native; this is how an individual may respond to an unfamiliar language and whether they are either an outsider or as an insider to the language. Is it plausible that there is a recurrent parallel; an absolute alienation between languages…or is it that one could be a mere stranger to the language (when encountered for the first time)?’ My outpouring is akin to the vocalising of a fluent speech-like sound that however appears to be unintelligible.
In applying procedures for an interpretation of Speaking in Tongues I am required to contemplate being in two states. Firstly, to consider the intent of the work through the asking of questions as to why, and what (for example) the work is about…this is normal practice and rudimentary. The explanation is simply part of applying a justification to the act and thereafter to be able to articulate the reasoning behind an action. The written text supports the reasoning and is the testament that both behind the action (‘behind’ as implied here is that thought and reasoning follows an action) whilst it is also evident the act is also premeditated. The second state is of equal importance and possibly requires the greater discipline, the act of not thinking.
Bisan Abu Eisheh
Is an artist and M.A. candidate at Central Saint Martins,2014. He has recently obtained is B.A. at the International Academy of Art – Palestine. He currently lives between London and Jerusalem. Selected Group Exhibitions include: Arrivals and Departures _ Mediterranean exhibition, Ancona, Italy (2012). The Jerusalem Show on/off Language (2011). The 12th Istanbul Biennial (2011). Belongings exhibition, Vita Havet Konstfack, Stockholm, Sweden (2011). World social forum photo exhibition, Jerusalem (2010). Inner abroad exhibition, international academy of art-Palestine, Ramallah (2010). Al-Rozana heritage festival, Berzeit, Ramallah (2009). On route exhibition, the international academy of arts-Palestine, Ramallah (2009). SIN festival, Al-Qattan foundation, Ramallah (2009). Selected workshops include: the 10th encounter for Mediterranean art schools, Mimar Sinan university, Istanbul, Turkey. AMSED Euro-Mediterranean youth exchange, Strasbourg, France. He has performed in several art events including: Prayers by Dora Garcia, The Jerusalem Show, Al-Mammal foundation, Jerusalem (2009). Hello Jerusalem by Hello Earth Danish group, the Palestinian national theatre, Jerusalem (2009). He has worked as an Assistant artist at the Return of The Soul exhibition by Jean Frere, the Palestinian art court (Al-Hoash), Jerusalem (2008). He has worked as an assistant curator for “Gaza Graffiti” project by the Swedish artist Mia Grondahl. He was part of a student exchange with university of Ulster, Belfast, Northern Ireland (2010-11). Bisan was selected for a residency as part of Points of Departure at the Delfina Foundation, London, UK (2012).
My interest in performance, dialogue and criticality led me to develop the idea of the ‘typical’ Palestinian character. In this video I explore the contradictory, and paradoxical dialogue between the Palestinian himself and the reality when he responds to the political situation. I switch into different identities as a way of exploring our relationship to politics, how we narrate and how we narrate and discuss this. I am interested in the idea that we keep dreaming of victory, and live in ambivalence, illusions and disillusions. Commonly heard dialogues among the people and politicians inspire the script, which is normalizing the situation under the occupation in spite of the amount of the problems which are increasing day by day and year by year.
Born in 1983, Mirna Bamieh is an artist based in Jerusalem. She currently works at Al Hoash Gallery, Jerusalem, in addition to pursuing her M. A. in Fine Arts at Bezalel Academy for Arts and Design in Tel Aviv.In addition to her artistic research, Bamieh has an interest in curatorial practices, in addition to curating several shows with al-Hoash gallery, she is currently co-curating “Points of Departure” project organized by Delfina Foundation and art school Palestine. Her current artistic and curatorial research interests are in notions of space and transformation, psychic spaces, the landscape of politics, liminality, and the construction of collective memory.She participated in a number of local and international shows, such as “Here & Now” at Laznia Centre for Contemporary Art/ Poland/ 2011, “Young Palestinian Artists exhibition” at the Ethnographic and Art Museum of Birzeit University/ 2011, “Exhaustion” Jerusalem Show IV/ Jerusalem/ 2010.
For some time Clare Charnley has been working around issues of translatability and the politics of language both in a personal and global context. She is particularly interested in using linguistic and cultural ignorance as a means of generating situations of mutual vulnerability. Another, related, interest is the act of misunderstanding which can be seen as creative or revelatory. Recent exhibitions, performances and screenings include The Casino, Luxembourg, Dashanzui Festival, Beijing, Performance Art Platform, Tel Aviv, Bengal Gallery, Bangladesh Castle of The Imagination, Poland, National Eisteddfod of Wales, Ex Teresa Arte Actual, Mexico and NYLO, The Living Art Museum, Reykjavik.
For the last few years she has been mainly working with Patricia Azevedo, Professor of Photography in Universidade Federal de Minas Gerais (Brazil) in both Brazil and England. Their joint practice involves observations and negotiations to do with language, territory and power relationships and attempts to give material form to a series of encounters, games and stories to do with the act of communication itself. Often this involves working with the public. For their work together Azevedo and Charnley have received awards from Arts Council England, Visiting Arts and The British Council. They were finalists for The Northern Art Prize 2009. In addition their work has been exhibited in The Bluecoat Gallery, Liverpool: Exchange Mechanism, Belfast Exposed Gallery, Belfast: The Drawing Shed, Project Space Leeds: Crunchtime2010, York: Coastal Currents, Hastings and St Leonards: Binaural, Portugal and Platforma, London.Clare Charnley is Senior Lecturer in Fine Art at Leeds Metropolitan University.
Fucking Good Art
It is both an artist collective (Rob Hamelijnck & Nienke Terpsma) and a recurrent publication on contemporary art, which manifests physically as well as on the internet. The hard-copy edition can vary from an A3-format flyer to a publication as a bound book. FGA also broadcasts its own online radio. The artists have been working in München, Berlin, Dresden, Copenhagen, Riga, Basel, Zürich, and São Paulo, where they have produced different publications of the periodical Fucking Good Art, in collaboration with local artists, film makers, architects and curators.
Newton and Helen Harrison of The Harrison Studio.
Among the leading pioneers of the eco-art movement, the collaborative team of Newton and Helen Mayer Harrison (often referred to simply as “the Harrisons”) have worked for almost forty years with biologists, ecologists, architects, urban planners and other artists to initiate collaborative di alogues to uncover ideas and solutions which support biodiversity and community development.The Harrison’s concept of art embraces a breathtaking range of disciplines. They are historians, diplomats, ecologists, investigators, emissaries and art activists. Their work involves proposing solutions and involves not only public discussion, but extensive mapping and documentation of these proposals in an art context.Past projects have focused on watershed restoration, urban renewal, agriculture and forestry issues among others. The Harrisons’ visionary projects have often led to changes in governmental policy and have expanded dialogue around previously unexplored issues leading to practical implementations throughout the United States and Europe. “Our work begins when we perceive an anomaly in the environment that is the result of opposing beliefs or contradictory metaphors. Moments when reality no longer appears seamless and the cost of belief has become outrageous offer the opportunity to create new spaces – first in the mind and thereafter in everyday life.”
By the early ‘90s, the Harrisons perceived that every work they were doing either needed or engendered a collaborative group. As a consequence, they formed the Harrison Studio and Associates. It’s earliest manifestation was at the Bauhaus Dessau in 1993 in a team that centered around Bauhaus personnel with Helen Mayer Harrison and Newton Harrison, Vera Westergaard and Gabriel Harrison, working collectively on the Mulde River watershed. Thereafter, the Harrison Studio has formed and reformed many times. There was the Harrison Studio in Borna, South Leipzig. In Bonn, with the Endangered Meadows. In Gouda, with Greenheart Vision. Most recently, the Harrison Studio Britain and, as an offshoot, the Harrison Studio Devon.Their work process is singular. It begins with the question, “How Big is Here?” Here may be a street corner, as in California Wash or a sub-continent, such as Peninsula Europe. They only do work that is the outcome of an invitation to engage a particular place or situation. Typically, they agree to go to such a place to see, think, speak, research and engage a broad spectrum of people and groups. They will only take on a work if there is a general agreement that their actual client is the environment itself. The agenda is created by the artists in discourse with the larger community. Thus, the Harrisons see themselves simultaneously as guests and co-workers. They stay only as long as the invitation continues, or until they deem that they have done all that is possible for them to do.
Dr Alex Mével
Dr Pierre-Alexis Mével is currently a lecturer in Translation Studies at the University of Nottingham, and has just launched a new MA in Translation Studies He completed his doctoral thesis at the University of Nottingham in 2011. Situated at the intersection between Translation Studies, Sociolinguistics and Film Studies, his thesis provides an analysis of the subtitling into French of a corpus of films portraying speakers of African American Vernacular English (henceforth AAVE). By analysing the French subtitles, the thesis focuses particularly on the possibility to use non-standard forms in the target language, on their potential impact on the reception of a film, and on the theoretical underpinnings of juxtaposing two linguistic varieties on screen. This raises particular issues relating to the formation of identities, about their cultural porosity, and the transferability of culturally bound features and the nature of their adaptation in another culture. His latest project involves using a narrative theory framework, in order to analyse the cross-cultural dynamics of representations of Otherness in a corpus of multilingual films. According to several studies (Diadori, 2003; Heiss, 2004; Baldo, 2009), multilingualism in films is becoming increasingly frequent. It can serve to illustrate problems of communication between individuals, metonymically invoking cultural barriers and challenging the concept of borders.
Was born in Birmingham and after completing MA and M.Phil degrees at Chelsea and Wolverhampton he was awarded the first Fulbright Fellowship in Visual Art in 1985.During his time in America, Newling produced works in hotels, swimming pools, burnt out cars, sales of memorabilia and on the streets of Los Angeles, San Francisco, Washington DC and New York. This experience marked the beginning of his enduring interest in notions of Place both in terms of cartography and context. This has generated many works over the following decades both gallery based and site specific.Newling constantly reviews ‘The tacit agreements of Place’ and this has coalesced into a view of the pathology of institutions such as banks and churches. His current researches have been into the nature, manifestations and relationships of Currency and Belief. This process of review is the initial impetus for a work for a specific place.Whilst always underpinned by rigorous conceptual thinking, Newling’s works are always conscious of material, fabrication and architectural space. His sculptural installations are possessed of a quiet beauty that resonate with layers of meaning that are inherent within the form. Newling has large-scale works within the public domain such as major commissions for the Post Office and The Inland Revenue. His exhibitions include a recent retrospective at the Yorkshire Sculpture Park that also incorporated nine new works for the Pavilion Gallery. Newling has an international reputation and has installed works across Europe and the USA. John Newling lives in Nottingham where he is currently Professor of Installation Sculpture at The Nottingham Trent University.
Martina Reuter and Manfred Rainer of WochenKlausur
The artist group WochenKlausur has been conducting social interventions since 1993. The concept of intervention, whose usage in art has undergone an inflationary trend in recent years, is often used for any form of change. In contrast, WochenKlausur, at the invitation of art institutions, develops and realizes proposals – small-scale but very concrete – for improving sociopolitical deficits. In the context of many twentieth-century artists who understood how to actively take part in the shaping of society, WochenKlausur sees art as an opportunity for achieving long-term improvements in human coexistence. Artists’ competence in finding creative solutions, traditionally utilized in shaping materials, can just as well be applied in all areas of society: in ecology, education and city planning. There are problems everywhere that cannot be solved using conventional approaches and are thus suitable subjects for artistic projects. Theoretically, there is no difference between artists who do their best to paint pictures and those who do their best to solve social problems with clearly fixed boundaries. The individually selected task, like the painter’s self-defined objective, must only be precisely articulated. Interventionist art can only be effective when the problem to be solved is clearly stated. It all started in the winter of 1992. For an exhibition at the Vienna Secession Wolfgang Zinggl invited eight artists to work on solving a localized problem. Within the normal time span of an exhibition, the group was to work in closed session to develop and realize a small but concrete measure to improve conditions for homeless people. This first project succeeded in making medical care available to this group. Since then, a mobile clinic has treated more than six hundred homeless people per month free of charge. An invitation from the Zurich Shedhalle followed, where WochenKlausur – in a new line-up – developed a pension for drug-addicted women. A year later, the group established a social center with bocce court for the older residents of the Italian community Civitella d’Agliano. In Graz, seven immigrants were assisted in obtaining legal residency in Austria. Interventions in Salzburg, Berlin, Venice, Fukuoka, Chicago and other cities followed. In the meantime over 30 projects have been successfully conducted by alternating teams that have involved a total of over fifty artists.
The core team of WochenKlausur conists of 8 artists who have all participated in multiple projects. According to the intervention the team is going to be extended by other artists. WochenKlausur’s office is housed in a former storefront at Gumpendorferstrasse 20 in Vienna. It is responsible for conceiving and organizing new interventions, recruiting local artists from the communities where projects are to be held, and supporting professional implementation and follow-up work.Since 1993 and on invitation from different art institutions, the artist group WochenKlausur develops concrete proposals aimed at small, but nevertheless effective improvements to socio-political deficiencies. Proceeding even further and invariably translating these proposals into action, artistic creativity is no longer seen as a formal act but as an intervention into society. Social renewal is a function of art after the art of treating surfaces. It makes more sense to improve the carrying structure before improving the surface. This art’s big chance lies in its ability to offer the community something that also achieves an effect. The motives for concrete intervention based in art should not be confused with an excess of moralistic fervor. As a potential basis for action, art has political capital at its disposal that should not be underestimated. The use of this potential to manipulate social circumstances is a practice of art just as valid as the manipulation of traditional materials. The group WochenKlausur takes this function of art and its historic precursors as its point of departure. WochenKlausur sets precise tasks for itself and, in intensive actions that are limited in time, attempts to work out solutions to the problems it has recognized. Widespread interest in the theoretical foundations and practical working methods as well as the concrete results of projects in Austria and abroad have encouraged WochenKlausur to continue working in this direction.
Alexandra Ross is based in Dundee where she is currently conducting doctoral research in the field of curatorial practice exploring the scope and efficacy of conversation-as-method within curatorship and the capturing of its history. The fieldwork of this practice-led investigation into curatorial conversations focuses on Manifesta 8; the 54th Venice Biennale; and Glasgow International Festival of Visual Art. The biennial provides a rich context in which to situate her research, although this is not the exclusive domain of investigation: also including conviviality within the curatorial; virtual, international networks; and experimental choreographed environments.
She read an honours law degree at the University of Edinburgh (1999-2004), followed by a Masters in Museum and Gallery Studies, University of St Andrews (2004-2005), and a Master of Fine Art, University of Dundee (2006-2007). From 2009 to present, she has been co-editor and co-curator of the collective Yuck ‘n Yum. YnY is a curatorial collective who produce a quarterly art zine and host events that promote and distribute art out with the gallery setting. She has worked in a variety of organisations including, IZIKO, South African National Gallery (Cape Town), Manifesta 7 (Bolzano), Bonhams Auctioneers (Edinburgh), and the Fruitmarket Gallery (Edinburgh).
Ross has also curated Symbiotic Intuition (Dundee, MFA degree show), State of Play (Berlin / Dundee), and Dance-On (Bolzano, during Manifesta 7). She works largely collaboratively with artists, choreographers, dancers, and educators assessing the boundaries, language and genealogy of curatorial practice. A forthcoming project is Yuck ’n Yum’s AGK3 (Annual General Karaoke) (Dundee) in a co-editor / co-curator capacity.
She is an artist based in Rotterdam who represented Serbia in Venice Biennial 2009. Her practice consists of making video pieces, sound pieces, book projects and creating different platforms for speculation, knowledge building and exchange. Her work explores notions of identity, authority and community and revolve around individuals who challenged by simultaneous inhabitation of different languages, perform themselves through practicing, remembering or reinventing themselves.