We will post reviews, articles, and links to other interesting writing on art and science…
For 4 days in early February MA Art and Science set up house in an a 1960s space ship to collectively explore the curation and design of the up coming degree show (25-29 May 2016). Key questions centred around how to build a coherent show that celebrates the diversity of individual approach while also revealing the shared creative and intellectual threads that are emerging within the group. Stephanie Wong records the events that took place between 8 – 11 February in the Futuro House.
Last week the second years of MA Art and Science spent four days in Futuro House, a retro space ship located on the terrace of the CSM King’s Cross building. Having just finished the intense experience of dissertation writing this was the first opportunity for everyone to come together and plan for the degree show. On the agenda was curation, design, research and the sharing of ideas.
Like the previous two years the degree show will be taking place in the Crossing at King’s Cross. This is the entrance to the main Central Saint Martins building and is technically a public walkway. With a height of four floors and an imposing breadth this huge space poses unique opportunities, as well as serious challenges, one of the biggest being we are not allowed to hang anything from the walls and the ceilings. What does this mean? In order to display any work we have to build a structure to do so.
Fortunately for us, due to the eclectic nature of the course there are two students with architectural backgrounds, both of whom had been working hard to come up with a design for a structure that would display our work. Facilitated by course leader Nathan Cohen and artist Susan Aldworth the first day was spent discussing the design and sharing concepts for each of our work and how this would best be displayed.
The second day kicked off with a lego building workshop run by Graham Barton. This is not normal lego but architectural lego and the completely white building blocks are used conceptually, constructing whilst holding questions in mind. Tailor made for us these were: What is my practice? What do I aspire to present as part of the degree show? What are my aspirations for the curation of the degree show? The appeal of lego seems to transcend age with the hands on building being quite meditative. Lead tutor Heather Barnett led us through the day which allowed each individual to really question what we want and think much more freely and thoughtfully about our work.
The final day involved another visit from Susan Aldworth and tutor Adrian Holme. This was spent discussing how to incorporate research and process into the curation of the show. What became apparent in the conversations was that the cross-disciplinary collaborations that make this course unusual need to be presented. Furthermore, art and science as a notion requires more than exhibiting finished pieces, in which the methodologies have equal if not crucial importance to the final meaning.
Being locked in a spaceship for a week turned out to be an incredibly fruitful experience. Some of the developments included: final design for the structure, a film that will be made documenting the degree show process, symposium plans, ‘brain dump’ for the title and fundraising ideas. The most exciting outcome was the enthusiasm and motivation of the group as a whole.
So watch this space…
(no pun intended)
Students on the MA Art & Science explore a wide range of subjects, theories, movements and disciplinary perspectives. To give a flavour of that diversity, here are the titles of dissertations submitted in 2015.
To what extent does our native language have an influence on the way we read images?
Exploring the relationship between visual perception and visual representation in botanical art and botanical science illustration. How are contemporary artists interpreting this relationship?
You Cannot Be What You Cannot See: The Importance of Positive Representations of Physical Activity for Women
Representation of Shadows in Western Arts
Is Ceramics a Time-Based Practice?
The Value of Garbage and Art from the Avant-Garde to the Contemporary
Samples and Artworks: Towards the Construction of Unity
Kyra Bento de Carvalho Altmann
Reconciling the Irreconcilable: Can the metamodern artwork resolve the present tensions between our self-conceptions and accumulated knowledge?
Jared Vaughan Davis
Post-Human Maze: The ethical challenge the cyborg brings to humankind through artistic perspectives
The Bed as a Symbol of Depression in Contemporary Art: Leaden heaviness, self-neglect and asymbolia in the art of Urs Fischer, Tracey Emin and Robert Rauschenberg
The Mysterious World of the Humble Pebble
Our Attraction to Morbid Anatomy
Jazz Szu-Ying Chen
An insight into the intentions behind and characteristics of camera-less photography, and how this challenges the dominant force of digitalisation in contemporary photographic culture
Into the Unknown: A study into the complex nature of Susan Hiller’s “Dedicated to the Unknown Artists”.
Emma Lucy Eagle
The Function and Significance of the Spiral in Plastic Arts
Identifying the Parameters of Physical Space
Vivienne Wen Du
To what extent can quantum physics be used to describe post-structuralism and how do these ideas manifest in contemporary art practice?
Ze Frank: Exploring the everyday everyday
Samuel Ivan Roberts