Together with writer and editor Dr Natalie Ferris, Bryony Quinn will be co-editing the fourth issue of the design research and writing journal, Bricks from the Kiln. The publication will be preceded by a series of events that will be transcribed in the new issue (which carries a theme of translation), including a symposium at LCC in late May.

Course tutor Charlotte-Maëva Perret presents her new work “K Mantras, Mass AwaKanye’ing, Total Wellbeing” for Dissidence – Quilting Against, a group exhibition commissioned by Z33 House for Contemporary Art in Hasselt, Belgium.

Inspired by the Hasselt Beguinage and its first inhabitants – one of the earliest women’s movements in history, dissidents and pre-wave feminists – ten (inter)national designers expressed themselves critically through quilts and take inspiration from alternative approaches. They examine various social themes such as the environment, unfair trade and the fashion industry from four different perspectives: historical, economic, activist and technical.

Exhibitors include Pinar & Viola (resident at MIA-H), Hanne De Wyngaert, Raf Simons, Nienke Hoogvliet, William Ludwig Lutgens (resident at MIA-H – with FLACC.), Bettie Boersma, Charlotte Maëva Perret (resident at MIA-H), Shayli Harrison, Aya Kawabata (resident at MIA-H), Navine G. Khan-Dossos (resident at MIA-H) Curator – Ronald Clays and Jan Boelen. In collaboration with MIA-H.

The exhibition runs until 26 May 2019.

Tue, 29 January 2019
17:45 – 21:00 GMT

Somerset House
River Rooms, Somerset House Studios, New Wing
London
WC2R 1LA

Bookings (FREE)

Euro-vision is a collaboration which examined the archaeology of operations of predictive technologies and how these structure the emergence and evolution of migrant flows. The project team investigated the realm of risk assessment algorithms and predictive policing systems, the use of automated software for governance, and ultimately its affective forms of power and necro-economics through an art-led inquiry involving fieldwork, ethnographic and archival research in Morocco.

EU border surveillance technology produces an automated gaze that requires strategies of ‘unsticking’ and ‘ungrounding’ in order to apprehend some of its inscriptive operations. The project team repurposed the fluxus-method décollage to explore the multifaceted interests and entanglements of surveillance technologies and migration. The process of critically charting these vectors presented at the showcase is the work accumulated during workshops with participants from MA Graphic Media Design at London College of Communication (UAL), and from King’s College London. From this enquiry, a distinctive ‘Euro-futurism’ emerges, celebrating border surveillance technology, war on the non-European body and a financial acceleration of the surveillance-industrial complex. Euro-vision affords a gaze that conflates spectacle with boredom, witnessing with deception, and ground-truths with counterfeit-paradises.

FRAUD is a métis duo of artist-researchers (Audrey Samson & Francisco Gallardo). Audrey is Joint Head of the Digital Arts Computing BSc and Lecturer in Critical Studies in the Art Department at Goldsmiths. Francisco is a PhD candidate at the School of Geography, QMUL. FRAUD develops forms of art-led inquiry into the multiple scales of power and necropolitics that flow through physical and cultural spaces. Past exhibitions and performances have taken place at the 57th Venice Biennale; the Victoria & Albert Museum; the Whitechapel Gallery; the Rotterdam Architecture Biennale; Kunsthal Aarhus; Haus der Kulturen der Welt (Berlin); Bâtiment d’art contemporain (Geneva); ArtScience Museum (Singapore); Maison d’Art Actuel des Chartreux (Brussels); and CentroCentro (Madrid).

Join us for Pictures of an Exhibition, which performs the optical conscious and unconscious of Frontex’s visual rhetorics through a series of works conceived by LCC’s MA Graphic Media Design participants, guided by guest tutors Confusion of Tongues.

Pictures of an Exhibition revolves around the visual rhetorics of Frontex, the semi-private governing agency held responsible for the management of all border control in the Schengen area. This exhibition focuses on the ways in-which the agency engages in artistic expression through their annual photo competition and is driven by the question: How do the artistic imageries produced by Frontex’ employees relate to the broad range of analytical imagery produced by the agency as a whole? And, more general, how do contemporary image reading machines distinguish in their ‘reading’, ‘screening’ or ‘analysing’ of these images? Images become analogues to membranes, through which constructs of ‘factual neutrality’ and ‘creative expression’ are on the move.

Hope to see you there/drop by for a drink and a chat!

Time: 18h-20h
Date: Tuesday, 15 January
Location: Atrium Gallery, LCC
The exhibition is accessible to staff and students at LCC, UAL.

 

 

 

 

Confusion of Tongues is an artist affiliation consisting of Benedikt Weishaupt (Berlin, DE) and Marthe Prins (Amsterdam, NL). Confusion of Tongues engages in visual rhetorics and image production of western neoliberal protagonists, seeking to shift the course of their validation in a place where images constitute reality. Over the last five years Weishaupt & Prins have developed an investigative practice, mediating the rhetorics of privatized border security, alternative wifi-infrastructures, the optimization of individual labour and the rise of sophiofascism. Often in collaboration with human/institutional bodies from various fields, Confusion of Tongues mediates through performance, exhibition and text.

This workshop is part of the Reciprocal Studio series.