Summer and art at the BSR

Our July artists in residence from Newcastle University and those on the Meade Rome Residency from the University of the Arts London (Chelsea and London College of Communication) arrived just as the BSR façade was being completed. Together with Sainsbury Scholar Anna Brass and the three architects in residence on the Boas Award (Marco Fiorino, Fiona Cuypers-Stanienda and Aoi Phillips Yamashita), they curated a pop-up exhibition on the portico and steps on the evening of 25 July.

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Elin Karlsson, untitled, 2019 (photo: Elin Karlsson)

Elin Karlsson (LCC, UAL) unfurled three large sails which she lit against the night sky with a floodlight hidden in a tiny cluster-cave of salt dough, broken glass and candles. Karl Foster (Chelsea, UAL) filled three abandoned niches beneath Piazzale Winston Churchill with a triptych of small dead trees that he found at the bottom of the road, with their roots exposed. Karl covered some of the tips of the branches with bits of plastic and clothing as a way to heal their wounds, ineffectually.

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Karl Foster, i vostri figli i ragazzi pairoli crea spazzatura, 2019 (photo: Elin Karlsson)

Marco Fiorino (Cambridge) exhibited architectural mappings of in-between spaces connecting gardens and public urban spaces, having spent his time to explore historical gardens in and around Rome.

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Marco Fiorino, Gardens for Third Nature, 2019 (photo: Elin Karlsson)

Abigail Hampsey’s (Newcastle University) paintings contrasted the classical limestone framework with entwined fluorescent narratives and Remi Rana Allen (Chelsea, UAL) presented The Memoirs of Lady Vagina Dentata and Killer Queen, a Medusa’s head made of Indian hair extensions from Delhi placing ‘black hair and dark skin’ as protagonists within traditional Western myths.

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Abi Hampsey, don’t miss, 2019 (photo: Elin Karlsson)

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Remi Rana Allen, Killer Queen, 2019 (photo: Elin Karlsson)

Fiona Cuypers-Stanienda’s (Architectural Association) four photographs of people and objects occupied an off-centre area near the doorway, reflecting her self-imposed challenge to understand and represent the use of public space in Rome.

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Fiona Cuypers-Stanienda, untitled, 2019 (photo: Elin Karlsson)

These very different practices that somehow spoke to each other brought the façade, hidden for months behind scaffolding, to life within an expansive discourse. This was an internal event that took place in an external setting which meant that people walking by were intrigued and stopped to look at the works exhibited.

In the previous weeks Meaghan Stewart (Newcastle University) led a monoprint workshop with left-over paints from previous BSR residents, inviting anyone curious to drop into her studio, including scholars and architects. She encouraged the less expert through the steps, from how to ink the acetate or glass support, create designs for effect, and experiment with different techniques. Some of the monoprints were exhibited on a table under the portico, including work by Anna Brass, Aoi Phillips Yamashita (Architectural Association) and Meaghan. The table featured small sculptures too, creating a miniature landscape for the prints.

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Anna Brass, Aoi Phillips Yamashita and Meaghan Stewart (photo: Elin Karlsson)

Meaghan Stewart monoprint (photo MC)

Meaghan Stewart, untitled (Fountain of Maremma), 2019 (photo: Martina Caruso)

Meaghan Stewart monoprint workshop (photo MC)

Monoprint workshop with Meaghan Stewart (photo: Martina Caruso)

 

Martina Caruso (Assistant Director for Art, Architecture and the Creative Industries)

Photography workshops

The past few months have been photographically eventful at the BSR, and while we have yet to set up a bona fide dark room, we appropriated the lavatories by the lecture theatre for an afternoon of impromptu printing.

On a sunny Saturday in March, Anna Brass (Sainsbury Scholar in Painting and Sculpture), David Whiting, a darkroom-based photographer and member of The Gate Darkroom in London, and Martina Caruso (Assistant Director for Art, Architecture and the Creative Industries), organised a pinhole camera workshop: we hung black-out material over the bathroom door, set up the safe lamp and laid out three trays for the chemicals. To dry the prints, we made do with string and clothes pegs in the neighbouring cloak room. In spite of these rudimentary arrangements, some excellent results were achieved.

Fig. 1 Anna Brass BSR tennis court March 2019

BSR tennis court by Anna Brass.

The fourteen participants included scholars, artists and staff from the BSR and beyond: Mercedes Jaén joined from the Spanish Academy with professional British photographer Richard Davies. Jaén’s skilful experimentations picked up on unusual aspects of the Lutyens façade.

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BSR façade by Mercedes Jaén

Richard also achieved interesting results using his digital camera as a pinhole by removing the technical apparatus and turning it into a camera obscura, directly exposing the digital screen.

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Richard Davies in the dark room

David Whiting’s pinhole camera was passed around as one of the most reliable for actually taking a photograph. Others transformed shoeboxes, tea boxes, and Anna Brass made her own nine-hole camera which doubled up as a miniature house.

Fig. 4 David Whiting using Anna Brass' nine hole pinhole camera

David Whiting using Anna Brass’ nine-hole pinhole camera.

In May, BSR archivist Alessandra Giovenco invited Tony Richards, a professional wet collodion plate photographer from The John Rylands Library (The University of Manchester), to give us a demonstration of this Victorian technique. Tony talked BSR scholars, artists, staff and patrons through his methods as well as how to avoid explosions and intoxications from the chemicals. Artist Kirtika Kain (National Art School, Sydney, Resident) became Tony’s assistant for the day observing that the workshop opened ‘a world of early photography so new to us: the chemistry, physicality and magic of each element. As an Australian-Indian artist, I couldn’t help but reflect on early colonial and ethnographic photography as I stood before the lens.’

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Kirtika Kain poses for the camera.

David Whiting also found the workshop to be a ‘fantastic opportunity to discover one of the earliest photographic techniques for creating extremely high-quality images’ saying ‘I now feel confident about using the techniques in my own darkroom-based practice and exploring collodion’s rich artistic potential.’ Kirtika, David and Alessandra were able to create glass and metal-based prints of their own after learning about the theory.

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Having to sit still for five to ten seconds means that the sitter’s stare acquires a holographic, slightly haunted quality which transpires in Victorian photographs, somehow bridging a gap with the past and helping us feel connected to some of the early practitioners and their subjects.

Fig. 7 Anna Brass Kirtika Kain and Stefania Peterlini wet collodion workshop portrait

Portrait of Anna Brass, Kirtika Kain, and Stefania Peterlini, using the wet collodion technique.

 

Martina Caruso (Assistant Director for Art, Architecture and the Creative Industries)

June Mostra 2019 / Meet the artists…Karin Ruggaber

As we approach the June Mostra, our third exhibition of this academic year, we are taking a closer look at the individual practices of our seven resident artists. The sixth interview is from Karin Ruggaber our Abbey Fellow in Painting.

So you’re making this sculpture on the wall with concrete. How long have you been working with this material, and why?

Yes, I’ve been working on this seascape relief here in the studio in Rome. I’ve been experimenting with concrete since 2005. It is like stone but it’s not stone. It presents a sort of instant geology. You can shape it and bring your imagination to it.

I like to work with architectural facades, and I’ve been making work that relates to architecture in the sense of how your body relates to architecture, how you stand with it physically and become immersed in it.

I think we understand objects with the whole body, beyond the visual sense.  It is something to do with touch and how we relate to scale and material, and move in space. The idea with my larger-scale pieces is that you move alongside them as you would move alongside a wall, navigating them with your body.

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Karin Ruggaber, BSR studio, June 2019.

I was trying to reconcile this aesthetic with that of the fountain installation you made at the Romanian Academy.

Yes, they’re two different strands of my work. I saw the fountain at the Romanian Academy and instantly connected to this space. Ever since I came to Rome I had this revelation about water, although I was already working on marine subjects before. I like this subject matter, the idea of the aspiration of it, of escape, of the sea being this powerful force connected to identity. The many fountains in Rome are strangely magnetic sites, monuments but also functional water systems. There is definitely a sense of Italy, and its past as a naval power, being connected to the sea, in reality and mythologically. There are perhaps parallels with Britain and its past as a maritime empire.

I collaborated on a fountain piece with a friend of mine last year, working from an image of a nineteenth-century painting of a shipwreck and sirens and mythological creatures being sucked into the sea. There was a logic to do with the current political situation in Britain. The title of the painting is A Shipwreck in Stormy Seas with a Siren on the Rocks by the history painter Lacroix de Marseille.

There is an idea of a dark force, a seduction, something uncontrollable at work, stormy seas being of course a political metaphor too. As well as the temptations of nationalism, of mythological narratives.

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Karin Ruggaber, Fontana del Nettuno, 2019. Wire, climbing rope, plastic, rubber, European palm, Bay tree, Cypresse, Olive, Rose, grass, wheat, European pine. Spazi Aperti XVII, Accademia di Romania in Roma.

Would you say your inspiration is derived from nineteenth-century epic painting rather than a direct experience of the sea?

Maybe both. I’ve been looking at figuration and ornamentation around water and marine life in Rome, in the fabric of the city, historic as well as contemporary. I’m fascinated by ports, such as the one in Naples for example. I was in a group show recently in a seaside resort in Britain, at Towner Gallery in Eastbourne, and I like the figuration around seaside resorts.

Fountain where

Michele Tripisciano, Fontana del Tritone del Commune di Marino, 1889. Piazza San Barnaba, Marino Laziale.

I wouldn’t say my interest in historical painting is tied to a particular period but it’s connected to the representation of a force. I like it when it becomes hyper-figurative, like many of the siren paintings of the late 1800s, early 1900s, when mythology ventures towards superstition, and the non-rational. I became quite interested in Neptune Fountains, and I have tried to see as many as possible. My favourite one so far is by the Sicilian nineteenth-century sculptor Michele Tripisciano in Marino Laziale, an hour south of Rome (it’s a twin fountain, the other one is in his home town in Sicily), and of course Neptune overlooking the port in Naples.

Neptune Naples maybe

Fontana Del Nettuno, Napoli, 1600, Domenico Fontana, Michelangelo Naccherino, Angelo Landi and Pietro Bernini. Piazza Municipio, Napoli.

I’m also interested in representation from the fascist era in Italy, and I just got a book out on Mario Sironi, La Grande Decorazione, with all these incredible murals. There’s something about how the narrative is stacked and literally builds an image or a relief sculpture on a building. I’m planning to go and see a fountain and a mural representing an underwater landscape and seascape in Naples, in the Mostra d’Oltremare, an exhibition area similar to E.U.R. conceived as a world exhibition in the 1930s and then reinvigorated after the war in the 1950s.

My fountain installation at the Romanian Academy integrates architecture and image and some kind of story-telling aspect, but also other things: it is a kind of re-working of a Neptune Fountain and presents a mixture between debris and ornament, it has elements of a rescue situation at sea, or an aftermath of something, perhaps a storm. It is a sort of anti-monument. When I started the water was an aqua blue colour and it has now become a lurid green because algae have grown in the hot weather. I like how the elements change it. I have been working with it and developing it for the duration of the exhibition, during which time, the weather has shifted from thunderstorms and rain to 35-degree heat.

The piece changes all the time and becomes difficult to maintain because it’s eroding in the water and functions with the weather, and that’s also what I like.

Karin Ruggaber fountain installation (blue 2) Romanian Academy

Karin Ruggaber, Fontana del Nettuno, 2019. Wire, climbing rope, plastic, rubber, European palm, Bay tree, Cypresse, Olive, Rose, grass, wheat, European pine. Spazi Aperti XVII, Accademia di Romania in Roma.

Does this have something to with climate change?

I suppose you can read a sense of crisis into the image of it, but I don’t set out to make issue-based work. For me there is a sense of urgency with these pieces and they speak of internal states, which inevitably speak of external situations. I’m interested in the direct experience with the work, its undercurrents, maybe the unspeakable side of it, not the headlines. And that is connected to the elements and to weather as an emotional landscape. And yet again, it is connected in the overall atmosphere perhaps because of the wider political landscape of chaos we’re finding ourselves in at the moment. There is something about grief perhaps, I’m interested in the translation of difficulty, of emotional states.

Since being in Rome I’ve been drawn to the idea of the fountain as a continuous flow of water, invigorating, restless but still, and transformative, and I have researched a little bit about the Roman Acqua Vergine system too.

I’m interested in the physical impact of something and clash between image and architecture. It’s connected to a kind of trauma in a way. Italy seems to have processed the Fascist period in a completely different way to Germany for example. In Italy you get a different glimpse and angle into this time period.

So much was destroyed in Germany, and has also become unspeakable, and maybe for me it’s also something I’ve been interested in because of my own family’s trauma from that period.

Karin Ruggaber with fountain installation, the Romanian Academy 2019

Karin with her installation at the Accademia di Romania. Photo: Jonathan Kim.

Karin’s work will be exhibited alongside the seven other resident artists in the June Mostra. The opening will take place on Friday 14 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 22 June 2019, closed Sundays.

Interview by Martina Caruso (Assistant Director for Art, Architecture and the Creative Industries) . Photos by Karin Ruggaber unless otherwise stated.

 

 

 

 

 

 

 

 

 

 

 

 

 

June Mostra 2019/ Meet the artists…Jade Ching-yuk Ng

As we approach the June Mostra, our third exhibition of this academic year, we will be publishing a series of blogs taking a closer look at the individual practices of our seven resident artists and resident architecture fellow. The first to be interviewed is Jade Ching-yuk Ng, our Abbey Scholar in Painting.

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Photo: Antonio Palmieri

More than humans_Jade Ching-yuk_Ng

More than humans, 2018, linocut, monotype, caran d’ache, gouache, ink on artist-made board, 89,5x70cm

Have you already started to work for the June Mostra?

I’m trying to make two paintings of 190x150cm, but its going to be a lot of work. I would like to have two tapestries of the same colour. Well, like monochrome, so eliminating the colour form that I have made from the previous ones to have a balance, completely monochrome and it is just about lines and shapes.

For the previous one I’ve just finished, I want to make a skateboard base because I want to challenge the flatness of printmaking or painting and making it into a new interpretation of seeing a painting in different dimensions, which is the flatness coming off or out of the wall. The skateboard slide is a reference to the arches that I have seen everywhere in the city and they are highly decorated with figures and intensive imagery.

The characters I’m using are still from my day-to-day life stories, there is a repetition of conversations and I extend the characters into something else. I would say my work is like a milkshake and I really tried not to make it too much of a narrative illustration, I would like people to feel they get to somewhere but all of a sudden they find something else happening in the same space. There is a constant pulling and pushing of a visual distract.

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Venetian clock, 2019, linocut, monotypes, gouache, ink, plaster on artist-made board, 89,5x70cm

 

Your prints are full of elements from the world of machinery, often connected to mechanical clockworks. Can you talk about their significance in you work?

In relation to the mechanical elements, I want to question the relationship between the body and our future. Machinery will dominate our future and how we could separate ourselves from that in order to guard our emotion and body as a human.

I always feel I am running out of time, I don’t have much time left. Sometimes I feel my work is challenging how to bring something beyond the time. A lot of people at the March Mostra questioned how I relate myself to history and time and the relation to history and how I relate to now. It is actually beyond time, that is something quite difficult to achieve, I think it will probably take my whole life. The quantity of time actually becomes quite timeless because there is a repetition of it when you start thinking about it all the time.

Room 2002_Jade Ching-yuk_Ng

Room 2002, 2018, linocut, monotype, caran d’ache, gouache, ink on artist-made board, 89,5x70cm

Jade’s work will be exhibited alongside the seven other resident artists in the June Mostra. The opening will take place on Friday 14 June 18.30-21.00. Opening hours 16.30-19.00 until Saturday 22 June 2019, closed Sundays.

Interview by Marta Pellerini (Visual Art Residency and Programme Curator). Photos Antonio Palmieri and courtesy of the artist.

Drawing in Academic Practice 

Earlier this month award-holders Caroline Barron (Rome Awardee) and Anna Brass (Sainsbury Scholar in Painting and Sculpture) held an experimental drawing workshop for academics who work on material culture. Here they tell us about how the idea for the workshop came about and where they hope to take the project in the future.

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Drawing in Academic Practice workshop, April 2019. Photo: Anna Brass.

Caroline: Anna and I became friends over the course of the winter semester at the BSR; from October to December 2018 I was resident as a Rome Awardee, and Anna was – and continues to be until September this year – the Sainsbury Scholar in Painting and Sculpture. Although we had chatted over dinner and during various excursions, it wasn’t until Anna and Holly Hendry, the Rome Fellow in Contemporary Art, coordinated the costume effort for the annual Halloween party at the American Academy that we really had a chance to talk in depth.

Anna: Caroline came to my studio in the afternoon of the party – we had to construct her costume quite quickly because it was the last one to do and we didn’t have much time. So, I made her help me paint it. We were working from a picture of a Roman cinerary urn with a fake inscription on her phone, and I did one row of lettering whilst she did another. Caroline was hesitant about painting – she didn’t want to muck it up – but I encouraged her to just look at the letters and paint, and not to worry too much about making it look perfect.

CB: Replicating epigraphic text in what appeared to be a scarily free way was unnerving to begin with; I wanted the letters to be exact representations of those in the stone inscription, but as I started painting I began to relax, and to isolate particular characteristics of the letters that stood out to me. Rather than focusing on proportionally accurate depictions of the letters, I allowed myself to pick up on specific details, and to paint them in an uninhibited way.

AB: Caroline did a top job and the costume was ace. We rolled up to the American Academy looking super cool in our homemade costumes and thoroughly enjoyed the attention from the other guests. After that Caroline and I became firm friends and we went on trips to museums, including to the Capitoline where I made her do some more drawings.

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BSR award-holders at Halloween

CB: The afternoon we spent drawing in the Capitoline Museums remains one of my happiest memories from the BSR. Anna equipped me with a sketchbook and a crayon – not a medium I was particularly familiar with – and directed me to draw various aspects of the objects on display, such as the negative space between two Attic vases, and – my personal favourite – a dog in an Etruscan relief. I found these exercises so much fun, and they helped me to break away from the idea of drawing as something that had to be executed exactly. Anna encouraged me to look at the form of the shapes I was drawing, and to feel the connection between my hand and my eye as I drew them.

Fast forward to April and we’ve just led a drawing workshop at the BSR for academics who work with material culture. The Halloween costume and the Capitoline drawings turned into a discussion about how drawing makes you look at objects, and the differences between the ways that academics and artists approach visual and material culture. The workshop was a real experiment for us, an exploratory exercise that did not have at its base a particular question that we were trying to answer, but rather a trial run at how productive the use of various drawing techniques might be in academic practice.

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Having invited some borsisti, Research Fellows, artists and friends who work on architecture and material culture, the workshop started with a series of warm-up drawings that were designed to immediately increase their confidence. Participants had to draw the person opposite them without looking at their paper, and then again but this time drawing with both hands simultaneously. Next, we drew objects from around the BSR – cups, pot plans, things from Anna’s studio – with the amount of time decreasing from 60 seconds, to 30, 20, 15, and finally 5.

 

Timed drawings

Timed drawings

After the warm-ups came a longer drawing in the cortile; the participants were each given a view of the space to draw. We went from drawing an object in 5 seconds to drawing a complete scene in half an hour, with the focus on using charcoal to think about texture and shadow. There’s very strong light in the cortile, as well as lots of ferns, which make really lovely angular shadows on the pebbles.

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Drawing in the cortile

A favourite exercise of the afternoon was a collaborative drawing session; six images were laid out with six pieces of paper and a range of crayons and charcoals. Each participant had 30 seconds to draw from that image before moving one place to the right to continue work on the next image. The result was a series of drawings in which it was impossible to tell who had made what mark.

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Collaborative drawing

The day ended with a discussion session, in which we talked about how successful the different exercises had been and what the participants had – and had not – found most useful in these new approaches to looking at objects. We then set up a small exhibition, selecting some of our favourite pieces from the day and celebrating the results of the workshop as a whole body of work.

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Exhibition and rinfresco. Photo: Stefania Peterlini.

The workshop was a really interesting experiment for us both; we’ve had lots of ideas about how to take it forward and remain convinced that drawing can, and should, be a vital part of academic questioning about objects and buildings and the forms that they take. Perhaps the most surprising aspect of the workshop was the extent to which our brilliant participants were ready to – or in some cases have already – include drawing in their research, which was clear from the confidence and assurance with which they approached some of the exercises. It would be interesting to see how academics working with less obviously ‘drawable’ materials, such as manuscripts or musical scores, might engage with the same exercises too, which has given us food for thought for the next workshop. Drawing in Academic Practice is an ongoing project….expect to hear more from us about it soon!

Caroline Barron & Anna Brass

Press Play

At the end of March Press Play arrived at the BSR. The experimental two-day conference on 28-29 March 2019 (hosted at the BSR and the MACRO-ASILO museum) and exhibition (29 March-12 April) explored the increasingly intimate links between academic research, artistic practice and civic engagement.

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Sarah Culhane and Daniela Treveri Gennari, ‘CineRicordi: Co-creating an  Archive and Documenting Italian Cinema History through Personal Memories  and Artefacts’ (photo: Eleanor Crabtree)

The invitation to press ‘play’ comes from the work of the keynote speaker at the conference, Doris Sommer. With her Cultural Agents project, Sommer explores how creative practices and critical thinking hold an essential civic agency that can drive social change. While this process presents risks that are inherent to such experimentation, after reading about the exemplary cultural agents discussed in Sommer’s The Work of Art in the World (Duke University Press, 2014) it’s hard to resist her invitation to press ‘play’.

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Workshop activity by Malcolm Angelucci, ‘Performance Writing as Creative Intervention’ (photo: Eleanor Crabtree)

The organizers of Press Play, Emma Bond and Derek Duncan (University of St Andrews), brought together participants whose work has developed at the playful overlaps between creative and research practices. Rather than traditional conference papers, critical thinking labs, immersive demonstrations and practical workshops were encouraged.

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Cate Consandine, ‘Directing the Sensate’ (photo: Eleanor Crabtree)

The conference kicked off at the MACRO-ASILO with two workshops run by artists – BSR alumna Catrin Webster and Luci Callipari-Marcuzzo – who each invited participants to use creative forms, drawing and crocheting respectively, as a way of recording their experiences over the two days of the conference. Kim Donaldson also invited participants to colour in designs which, along with the drawings and crochet, were included in the Press Play exhibition alongside the work of the exhibiting artists.

A key contribution on the first day came from Ali Alasan, Abimbola Odugbesan and Jacopo Colombini, who discussed their work with the self-organised refugee group Lampedusa in Hamburg. From the perspective of activists, they highlighted the need to position migrants as knowledge-makers in order to make art that empowers migrants. Current Bridget Riley Fellow Phoebe Boswell also presented her talk ‘On decoloniality’ in which she spoke about this theme from her own autobiographical perspective, leading up to her current explorations since she arrived in Rome. The final session of the first day took the conference back to the BSR where Caroline Smith, author of The Immigration Handbook, was in conversation with her Italian translator Paola Splendore.

The second day started at the MACRO-ASILO with a series of parallel sessions. One of these included BSR Québec Resident Dan Popa. Along with BSR archivist Alessandra Giovenco, Dan presented his idea for a film which combines personal photos of his time in Rome with photos from the unsorted ‘box #9’ from the BSR photographic archives. Before lunch the participants came together for a presentation from one of the exhibiting artists, Justin Randolph Thompson, who spoke about his practice in relation to his experiences of founding Black History Month Florence.

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Alessandra Giovenco and Dan Popa present box #9

The final evening of the conference began with a series of presentations from the other artists exhibiting at Press Play – Katia Kameli and Nikolaj Bendix Skyum Larsen – who spoke about the research processes that had contributed to their work being shown. Finally Doris Sommer gave her keynote address in which she presented a series of exemplary ‘cultural agents’ who, through working at the productive overlap between creative practice and critical thinking, use these as essential tools to provoke civic engagement and social change.

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Doris Sommer gives the conference keynote lecture (photo: Antonio Palmieri)

On Saturday 30 March, after a walking tour of the area around the BSR with artist-academic, Kinga Araya, conference participants had the chance to undertake a guided tour of the Museo dell’Altro e dell’Altrove di Metropoliz (MAAM). The museum materialises some of the key themes and aspirations discussed over the two days of the conference, particularly the vital role of the artist and the admiration of art to provoke civic engagement and social change.

The accompanying Press Play exhibition continued at the BSR for the two weeks following the conference.

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Justin Randolph Thompson performs outside the BSR on the opening night of the exhibition. (Photos: Anotnio Palmieri)

The organizers would like to thank all the presenters and participants, members of the steering committee (Malcolm Angelucci, Catherine Boyle, Shelleen Greene and Siobhán Shilton), curator Silvia Litardi, and our generous funders. Thank you also to Gianluca Fiorentini for his tour of the MAAM.

https://pressplay2019.wordpress.com

Twitter: @PressPlay2019

 

Eleanor Crabtree (Press Play postgraduate assistant; BSR Pilkington Rome Awardee (funded by the Roger and Ingrid Pilkington Charitable Trust))

 

 

 

 

 

 

 

Sainsbury Scholar Anna Brass at ‘Una Vetrina’

On Thursday 11 April Sainsbury Scholar Anna Brass’ work Riddled was inaugurated at Una Vetrina in Via del Consolato, Rome.

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BSR Fine Arts Adviser Marta Pellerini explains the concept of Una Vetrina, ‘Founded in 2013 by curators Giuseppe Garrera, Gianni Garrera and gallerist Carlo Pratis, Una Vetrina is an ongoing art project inside a window overlooking a tiny street in the city centre.

‘Artworks and contributions by artists, poets, philosophers are displayed inside the vetrina day and night, for the attention – or indifference – of the casual passer-by. The installation changes every week, unannounced, and without aspiring to a specific devoted audience.

‘Rapidity and uncertainty are central to the concept of Una Vetrina, a ‘no-stop’ project consuming words and images’.

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Anna says, ‘I often make costumes for my films, but for Una Vetrina I wanted to make a costume that was useless, one that couldn’t be worn. Riddled is a carpet made with a tufting gun; it’s an image of a theatrical costume hung up on a wall: a harlequin pelt, bloodied and full of holes.

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A preliminary drawing for Riddled by Anna Brass

‘The starting point came from the images of commedia dell’arte characters in Dionisio Minaggio’s Feather Book, which was made in Italy in the early 17th century. One of the characters is Bagatino, who is a version of the harlequin. In Minaggio’s book Bagatino’s costume has polka dots or patches of colour, but in Riddled they’ve become holes and wounds. Whilst I was making the carpet I was thinking about politicians who cultivate an image of buffoonery, and how this can veil something violent’.

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Anna’s work will be on display until Thursday 18 April.