Performing a Museum: a Violinist's Adeventures in Curated Space
December 02, 2014
By Peter Sheppard Skaerved
This illustrated talk explores the opportunities and challenges, which emerge from breaking the silence of the museum. The talk will include reflections on his work both as performer in museums, curator, and the relationship that this work has to collaborative processes and commissioning. Grammy-nominated Peter Sheppard Skaerved has a unique record of collaboration with galleries, collections and museums internationally. He is the only musician ever to curate a major exhibition at the National Portrait Gallery London, has a long-term residency with the British Museum's 'Enlightenment Gallery', recently made a film bringing composers into dialogue with the Victoria and Albert Museum, presents concerts and talks at the Library of Congress, Washington DC, and regularly leads musical 'interventions' in museums large and small from Mexico City to Ankara. He is just completing a unique project for Dover Museum reflecting on the First World War, which brings together his work as violinist, artist, writer, and walker. He is the Viotti Lecturer in Performance Studies at the Royal Academy of Music, London, visiting professor at Vanderbilt University, Nashville TN, and the dedicatee of well over 400 works for violin.
The Era of Scientific and Philosophical Arts Has Begun...
November 06, 2014
By Sharon Kanach
This lecture will trace Xenakis’s evolution throughout his career, where the age-old poles of rationality versus intuition or determinism and fatality versus free will and unconditioned choice constantly evolve into what we can now, in retrospect, see as the seed of his model and embodiment of an “artist-conceptor,” where the arts and sciences act as alloys.
The American musician Sharon Kanach originally went to Paris to study with Nadia Boulanger but her path diverted radically when she met Iannis Xenakis (1922 – 2001), with whom she collaborated closely for the last twenty years of his life, especially on his extensive writings. In 2009, Sharon Kanach became the founding director of the Xenakis Project of the Americas based at City University of New York and vice-president of the Centre Iannis Xenakis based at the Université de Rouen. Kanach is also member of the Cultural Studies and Contemporary Arts Lab.
On The Transformation
November 03, 2014
By Sylvia Safdie
Sylvia Safdie’s talk will focus on the nature of transformation in her work. Through her paintings, drawings, sculptures and installations, and by the use of natural materials such as sand, earth and dust, Sylvia Safdie’s work is both poetic and meditative. Her video art, begun in 2001, can be seen as a natural extension of her previous work in static media; these videos become a moving canvas on which to explore ideas of space and time, stasis and movement, sound and silence, embodiment and nature.
Sylvia Safdie was born in Aley, Lebanon and lived in Israel before moving to Canada. Based in Montreal, her work has been exhibited in Canada, USA, Europe and China.
Designing Interpassive Indianness for India's Rich: The Work of Aesthetics in Intimate Encounters with Nation at a Distance
December 11, 2013
By Tereza Kuldova, PhD
Elite Indian fashion designers consciously attempt to abstract the essence of Indianness from India’s numerous and geographically multiply localized crafts. Their garments are a stunning montage of exquisite handwork transgressing the local and representing the nation at large in a very concrete material form. Indian designer garments are thus pregnant with ideological meanings, sentiments and beliefs; they are an ideological intimate affair of national belonging crafted for the consumption of India’s transnational elite. However, the elite consumers have a troubled relationship with the nation; they despise it while feeling obliged to stage their love for it. At the same time, being cosmopolitan, they increasingly inhabit the world at a distance. The intimate relation with the designer clothing imbued with nationalist sentiment enables the elite, attempting to be suitably cosmopolitan while transgressing the national, to ‘objectively’ present itself as nationalist. The aesthetically enchanting garment imbued with ideology then belongs and believes for the wearer, thus the elite customer is relieved from his/her nationalist obligation and can freely contemplate other loyalties as much as hatred towards the nation and its filth. This role of aesthetic consumption and of artistic nationalism, I argue, has to be read through the lens of interpassivity. The paper thus draws on the works of Slavoj Žižek and Robert Pfaller on interpassivity in order to resolve this ethnographic puzzle. [The paper is based on long-term ethnographic fieldwork among New Delhi’s fashion fraternity, its elite clientele and craftspeople.]
Seeing Ourselves through the Eyes of Others
November 25, 2012
By Liz Wells
Professor in Photographic Culture
Plymouth University, UK
Poststructuralist thinking opposes the notion that a person is born with a fixed identity. . . . It suggests instead that identities are floating, that meaning is not fixed and universally true at all times for all people, and that the subject is constructed through the unconscious in desire, fantasy and memory. - David A. Bailey & Stuart Hall (eds) (1992) Ten/8 2(3), Critical Decade, p20.
What do photos say about you? In what ways does photography contribute to constructing our sense of self, of cultural identity? Taking examples from advertising as well as from work by photographers from various regions of Europe, this talk considers images, representation and Identity in relation to place, race, nation and gender.
Thoughts on Experimental Drawing: Giotto’s Red Circle and the Idea of an Apparatus
October 24, 2012
By Elizabeth Hoak-Doering
When Pope Boniface VIII wanted frescoes for St. Peter’s Basilica, he sent a messenger out into the country to visit various artists and to bring back proof of their skills for final selection. Giotto (1266-1337) did not send completed drawings or paintings; he apparently stood in front of the messenger and drew a perfect circle, by hand, using red paint and a brush. Giotto’s story is legendary not only because he won one of art history’s great commissions by drawing a circle (simple, and quite difficult), but also because of the unexpected novelty and bravado that his act entailed. It is the circle and the brush that steal our attention in a story that is otherwise framed by legendary power and fame. In that spirit, Elizabeth Hoak-Doering will explore the idea of “experimental drawing”, presenting images that range from Renaissance masterpieces to Chinese scroll painting, Modern and Contemporary works, and works by ‘non-artists’. An arrangement of some of her favorite drawings will serve as an informal way for the artist to open up on topics of observed and conceptual drawing, and artists’ tools and methods, citing David Hockney, Georgio Agamben, and others. Elizabeth Hoak-Doering holds a BA in Anthropology, an MAed., and an MFA in Sculpture. A native of Philadelphia, she is currently a resident of Nicosia, and has been working on Cypriot subjects since 1997. In 2011 she was selected to co-represent Cyprus in the 54th Venice Biennale. Her visual projects are characteristically heavily researched, leading to publication in (among others) the Cyprus Review (2009), the International Feminist Journal of Politics (2010), and a chapter in “Photography and Cyprus – Time, Place and Identity” (I.B.Tauris) due to be published in 2013. Most recently The Journal of Balkan and Near Eastern Studies (June 2012) published research that inspires her current work, which is part of “Terra Mediterranea – In Crisis” curated by Yiannis Toumazis at the Nicosia Municipal Art Centre. She has recently returned from artist in residencies in Sydney Australia (University of Technology Sydney and the University of Wollongong), and is Associate Professor in the Department of Design and Multimedia at the University of Nicosia
December 14, 2011
By Alkis Hadjiandreou
Τhe instalation " Untitle #10" by architect and visual artist Alkis Hajiandreou is based on the identity verification process of the body. The piece refers to the occupation of the water tank tower by imprisoned asylum seekers in Nicosia Central Prison in 2007. The presentation will focus on the artist's views on the limitations of visual arts and on the process of the artwork's production. "Untitled # 10" was part of the Open Call # 2: Installations in Situ, organized by the Nicosia Municipal Arts Centre, associated with the Pierides Foundation.
Shakespeare in The Concert Hall
November 09, 2011
By Dr Christopher R. Wilson
Towards the end of the 18th and beginning of the 19th centuries, Romantic literature had a profound effect on all the arts, particularly music. Writers such as James Macpherson (Ossian), Lord Byron, Thomas Moore, Sir Walter Scott made a considerable impact. In continental Europe, with the addition of Shakespeare, these writers became especially fashionable. Shakespeare’s plays increasingly came to be known in various guises through translation. Given the development of the Romantic symphony, it is not surprising that Shakespearean ‘symphonic’ residuals should be more at home in the concert hall than in the theatre. This lecture looks at seminal works by Mendelssohn, Berlioz, Liszt and Tchaikovsky.
Christopher R. Wilson FSA is Professor of Music at the University of Hull, UK. He is a leading authority on Shakespeare music and has published books and journal articles (including ‘Shakespeare’ in the Grove Dictionaries) dealing with performed music and musical imagery in the plays and poems, and their adaptations from the 17th century to the present day. His Music in Shakespeare (with Michela Calore) was published in 2005 in the award-winning series Athlone Shakespeare Dictionaries. His latest book, Shakespeare’s Musical Imagery is published this autumn by Continuum (London and New York). Educated at Oxford University, Professor Wilson’s career has developed as both a scholar and practitioner. He has given lectures in the USA and continental Europe.
Writing The City: Space, Time Body
April 11, 2011
By Dr Angeliki Avgitidou
In this lecture I will be discussing my work as interdisciplinary artist, during the last 15 years. I will be focusing on the city as a space of individual and collective memory, a space where subjectivity is constructed, identity is negotiated and desire is expressed. In this I will be discussing my interest in the use of everyday spaces, processes and actions and their transformation into rituals that address the everyday itself. The media of the artworks presented range from photography and video to urban interventions and performance art.
Angeliki Avgitidou studied architecture at the Aristotle University of Thessaloniki and holds a Masters and a PhD in Fine Art from Central Saint Martins College of Art and Design (University of the Arts). She has exhibited internationally in venues such as the ICA (London) and the French Museum of Photography. Her work encompasses video, performance, interactive animation and installation. She has co-authored the book “Memory Transference” (2009, cannot not design publications). In 2010 she co-organised the seminars “Performance Now: v.1” at the School of Fine and Applied Arts, University of Western Macedonia (Greece) where she has been appointed Assistant Professor.
The Art of Social Engagement
March 30, 2011
By Evi Tselika
“Participatory‟, “littoral‟, “dialogical‟, “new genre public art‟, “social engagement‟ and the much debated “relational aesthetics‟ are some of the terms that the art world has been exploring so as to describe some of the shifts that occurred in the art world’s use of the social in the last decades. This pedagogical/ social turn of the arts has been establishing itself as a methodology of work where practitioners aim to simulate situations in which debate over socio political conditions is encouraged and multiple audiences participate. In this talk, some turning points in which art became socially responsive and which coincide with large social upheavals throughout modernity will be highlighted. This will aim to demonstrate the process of theorization of the Social and the Arts. A brief visual mapping will bring in examples from the last century such as the Brazilian Concretismo movement of the 1950s in the unstable political environment of the country, the post individualistic artistic development of the 1960s in line with the social upheavals of the decade, the expansion of participatory art making of the 1970s and the fall of the Berlin wall in 1989 that signalled the collapse of the soviet communism and also heralded the virtual space of the world wide web and the dominance of mass media and the “society of the spectacle”. This brief visual narration of the historical relation of art and the social will lead to the presentation of two art projects that the Tselika is currently involved in.
Evanthia Tselika is a Visual researcher, producer and educator. She is currently undertaking full time doctoral research examining the role of socially engaged art in socially engaged cities; the case study being Nicosia, at Birkbeck: University of London. She has worked, exhibited and collaborated with variant galleries, museums and universities in London, El Salvador, Cyprus, Greece and Brazil.
The Journey of a 3D Artist
February 09, 2011
By Maria Pavlou
A beautiful journey through images and experiences, driven by the passion for drawing, technology and animation. In this presentation, the meaning of 3D graphics, its applications and necessity in the digital era, as well as the importance of drawing in the development of a 3D artist will be explained. All the creation stages of a 3D character will be analyzed. Examples of 3D animations and still images from TV commercials, feature and short films from the artist’s portfolio will be presented. At the end, there will be a talk about the “Non-photorealistic Rendering” technique. With this method, 3D rendered images feel like they were done by hand, using natural media like charcoal or pastel, thus minimizing the limitation that a realistic render imposes on the artist.
Maria Pavlou works as a 3D artist and animator for TV commercials. She is also a children’s book illustrator. She received her Bachelor of Fine Arts in Computer Animation in the US with a Fulbright scholarship and her Master of Arts in Digital Arts in London. She was selected among 35 students from the US and Canada by the Disney Animation Studios, to participate at the first training program set by the studio in California which was taught by some of the biggest names of the animation industry. Her experience started in the US, as a 3D modeler and animator on an independent, 3D animated movie. The artist has created three animated, short films that were screened at international film festivals. Beyond her professional work, she is involved with researching the subject of “Non-photorealistic Rendering”.
Implementing Critical Pedagogy in Digital Storytelling
November 17, 2010
By John W. Higgins, Ph.D.
Critical pedagogy, stemming primarily from the work of Brazilian educator Paulo Freire, proposes a transformative notion of education focusing on “praxis”: a continuing cycle of action, theoretically informed self-reflection, and further action based on this reflection. In this presentation, the theories and practices of critical pedagogy are explored as applied in the undergraduate college classroom. The creation of a student base of “legitimate knowledge” through self-reflexive writing exercises, oral histories, and multi-media product becomes the locus for validating personal and cultural experiences. Examples are drawn from experiences in the classroom, particularly courses involving "Digital Storytelling" techniques.
John W. Higgins is currently a Fulbright Scholar at the University of Cyprus. He is a communications consultant in San Francisco, USA. A former associate professor in communication and media at Menlo College in Atherton, California, he holds a Ph.D. in Communication and an M.A. in Telecommunications. His areas of expertise include community-based, “alternative” media; media production; advanced media technologies; critical pedagogy; storytelling and oral history as art and social science.
The relationship between text and image. A three-hour workshop with students and an evening lecture on the same day.