Room project - Ana

Unit 5 - Room project

memories in walls

Do a hole in the wall, place a message inside, cover the hole again

Trap ephemeral messages permanently in the room

Two ways to develop further this project:

1- numerate each hole in the wall and create

a map containing the messages «coordinates»;

2 - in war times, when people had to escape their homes, it was common to hyde their valuable objects in the walls, passing their location from generation to generation. Create a «myth» for next sculpture generation, about the location of this memories (have to think how).

any ideas most welcome

ana brotas

Season on Andrei Tarkovsky - CLOSE UP

Just a quick reminder that our season on Andrei Tarkovsky will start on Tuesday 2 February. Close-Up will present his seven feature films from his debut Ivan’s Childhood to his final masterpiece The Sacrifice.

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FILM PROGRAMME

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CLOSE-UP ON ANDREI TARKOVSKY
Andrei Tarkovsky belongs to that handful of filmmakers (Dreyer, Bresson, Vigo, Tati) who, with a small, concentrated body of work, created a universe. Though he made only seven features, thwarted by Soviet censors and then by cancer, each honoured his ambition to crash through the surface of ordinary life and find a larger spiritual meaning: to heal modern art’s secular fragmentation by infusing it with metaphysical dimension. -- Phillip Lopate

Tuesday 2 February 2010 - 8pm
IVAN'S CHILDHOOD
1962 | Soviet Union | 96 mins | B&W

Tuesday 9 February 2010 - 8pm
ANDREI RUBLEV
1966 | Soviet Union | 145 mins | B&W

Tuesday 16 February 2010 - 8pm
SOLARIS
1972 | Soviet Union | 165 mins | Colour

Tuesday 2 March 2010 - 8pm
MIRROR
1974 | Soviet Union | 102 mins | Colour and B&W

Tuesday 9 March 2010 - 8pm
STALKER
1979 | Soviet Union | 163 mins | Colour and B&W

Tuesday 16 March 2010 - 8pm
NOSTALGIA
1983 | Italy | 125 mins | Colour and B&W

Tuesday 23 March 2010 - 8pm
THE SACRIFICE
1986 | Sweden | 149 mins | Colour and B&W

The Working Men’s Club | 44-46 Pollard Row | London E2 6NB
Ticket: £5/FREE to Close-Up members
Doors open at 7.45 pm

Taking Control

Since the 'room project' started a couple of weeks ago, I have found myself being pulled towards two different thought paths. The first being about my interest in the properties of concrete and our expectations of concretes properties. The second idea is about the control of people and their movements. I have managed to articulate my thoughts about these subjects by writing a statement for each concept:

1) I am interested in the properties of concrete - weight, density, sturdiness... I want to challenge our understanding of these properties by creating an object that contradicts our perception of how that material acts.

2) I am interested in the power I have as an artist to control people and their movements. I use concrete as a medium for this because of its powerful, dominant, formidable qualities. I also feel that concrete directly and indirectly affects our movements and lifestyles subconsciously every day, regardless of what work I produce.

For the first idea I am considering tricking the audience of my work into thinking something is wrong with the sculptures. As well as making them feel uneasy by allowing them to experience a material that they had entrusted to act in one way when it seems to be acting in another. You can see examples of general ideas I have had below.

For the second concept, I have explored the idea of interfering with the space I have chosen which is the large, open space just down the corridor from our studio. The first few ideas I had involved physically building walls and forcing people to explore the space. But due to health and safety it was not possible to carry out those initial ideas I had, so I started to look deeper into the space.

Today I came up with an idea involving completely discontinuing the use of a space rather than just changing the way the space is used. The idea is to block off the door leading into the room in which a writing and curation BA is taught. A close friend of mine does that course and says there are 4 different doors leading to the room. She will be showing me around the room tomorrow so I can gain a better understanding of how the space is used, and what relevance the doorway is to those that use it. I will want to understand what ways the door is utilised so I know how I can affect or disaffect its use.

The multiple documentation of 3D objects for a 2D outcome.
Folowing a set of pre-written rules.
All work is to be contained. Sealed in.
Actions speak louder than words.
Im sorry i can't spell.
Lots and lots of Love.
T O M D O N.

PROPOSAL for room project. Julieta.

After thinking and experimenting several posibilities during the last days, I got to the point where I know what my proposal for the Room Project is going to be.
I wont try to explain it all in this post, I just want to let you know a bit about it because I feel we all need to take into account the fact that we are sharing a working space.

Basically, my proposal is about considering, taking care and loving the space in between our studio and the corridor. I am planing to develop a piece of work in the frame and internal part of the second door in the studio (tha one that was locked).
The work is going to be a performance piece, my final objetive is to turn this non-space (in between spaces place) into a proper space. With this in mind, I am studying what are the characterstics of a space, and what I need to develop to make it work.
I think the first step was detecting what space I wanted to create, it has to be A specific place, not a generic one.
I considered bringin a living room, a kitchen, a storage room, and then realized that I want to recreate my garden. The garden from my house in Buenos Aires, make a relation and proportion with the rectangular shaped space I am using now and translate that summer flowery loved space in there.
With my mom´s help, I already collected pictures from all the type of plants and flowers there, and I am making a plan of the space.
After preparing all the elements, I will dedicate 2 or 3 days to "gardening" the frame, turning myself into my grandmother, who is the person incharge of taking care of the real garden.This action has a lot of detailed work and dedication, I want to absolutelly connect with this space and give all my love and care to ir during this period of time.

Will this avoided for years space change after recieving my focused love and attention?
Will passers by, constant users of doors, realize of the existence of this space after I interact with it? Will they stay in it? enjoy it? dedicate mora than 0,3 seconds that is the time genneraly have our bodies under doors?

I wrote an email to Pierpaolo asking permission for taking care of this space, starting with fixing all the imperfections in it, probably re-painting the frame to make a white background to work over, and maybe sanding the edges a bit to avoid the layers of paint from obstructin the door.

This are some pictures of the first experiment I did yesterday in a door in my room, and the pictures of the door I am planing to use in the studio, just as a way of visualizing what it might look like.

I am conscious of the great failure potential of this proposal, since if I am not able to comunciate my intention in the way I feel it, it will just turn into some little colorfull thing in a frame. I am taking the risk of choosing a very minimal and detailed outcome, in comparison to the other possible ideas I had explored for the last week, that involved blocking spaces, constructing walls, deconstructing sofas and other maybe more "scultpural" forms.
But in the end I just tryed to connect with what I really want to do and project myself into, and not what I think will fulfill others expectations.
And I feel so engaged now to my proposal, that I just can´t wait to act!

I commit to respond to all the door and frame needs and desires during the process, and watch out to all the norms and regulations that shuld be taken into account.

Thank you.

Juli.

Advice on making the most of Room...for all

Hi everyone

I have read with interest all of the proposals, and whilst I am impressed by the ambition in many of them, I think it important to bring some kind of realism to bear, and help you all with a few well aimed tips:

1. The reason why you might be interested in doing something is useful—because it guides what you do during the process of making, and helps indicate when it is time to complete the process. If you know what you want to do clearly, it allows you to adapt, when you cant do as you originally thought.

However, our role as tutors is not to affirm or discount your reasons for doing something. Instead we (and BA interviewers) are far more interested in the way that you approach the 'idea' which is better thought of more in terms of it being a starting point. Too much thinking before getting on with it is a risky use of time, and none of you can afford this.

Instead you now all need to be working on these starting points in practice in college (or with tutor approval, elsewhere if more productive), and not expect that a written 'idea' on paper will have anything like the effect/impact you assume. This is important to realise.

The lines of an old song spring to mind:

It aint what you do its the way that you do it (and that's what gets results).

2. Keep it simple.

The lines of an old adage spring to mind

From little acorns, grow big trees

I don't mean this to put damper on any of the proposals in terms of intent—but must insist that you all be realistic from now on—in scale, time allowing and likelihood of us being able to allow it in the first place. So even for the projects below which are more readily achievable, everyone's priority must be concerned with the doing now.

Best wishes

Adrian

Tom Friedman fur alle!

http://www.youtube.com/watch?v=hfZtwdbw7q0&feature=PlayList&p=8B24DC1F254C63C0&playnext=1&playnext_from=PL&index=19

Room project proposal - Robin Seir

Sorry aboyt the delay! I've been very busy moving but now back on track. I have had time to think though. My idea has been changing many times so I would like to have a chat with you (Pierpaolo) on thursday if possible. Anyways, my last idea is about replication. I started thinking about the WCs in the bar im working in. The entire cellarfloor is covered in tags and graffiti. The walls used to be white but nowadays you basically can't see a single white spot. I want to 'take' a square meter of the wall with me and put up in a totally white space as our studio. And the other way around, to take a white square and put up as a contrast to the tagged walls in my bar. I want to connect two totally different rooms, having me as the only link to keep them connected.
So I was thinking of painting an 'exact' (as good as I can) copy of the tags straight on the wall in our studiospace and paint a copy of a square meter from a wall in our studio in the bar and in that way swop the two square meters. I had a chat with Adrian today about this and we started discussing documentation and outcome. There is a problem since you probably just will see one of the two pieces. And photographs are not too reliable.
I do want to stick with the concept but try to work within the studio space. I also want to develop it into a 'more' sculptural piece as in building a replica of something. Maybe replace it with the original. Anyway, this is a part of the process so I've started sketching and thinking about the relationship between different objects in the room.

this is what i was thinking for this 'room' project, it's not final, cos still need to do more search and blabla, but it pretty much puts me on the right track...sorry it's a bit too long for reading.

At first when I heard about this project I thought of use and misuse of studio, 2nd floor and everything included there. Everything in the space has its own purpose; therefore everything could be misused and perceived in a different way. The conception of use and misuse automatically had a link to use and misuse of the sources from what all the objects in the space are made. So, the first idea was to relate misuse of an object to the waste of sources in order to create commodity and not always necessity of an object placed in a particular space. I thought of making a fictitious door frame to nowhere as it would be an obvious and strong symbol of misuse and demolish it at the end. This work supposed to be based not only on site-specific sculpture, but also have a reference to irresponsible use of some sources which could be used in a more reasonable way. However, doing deeper research in objects which could be used in my work I have decided to leave this concept behind this work for later. I became more interested in consciousness which is created by an object placed in a place where it does not belong. When the object is placed somewhere else where it does not belong is it still the same object? Physically I would misuse it, but psychically it would be still the same object only because of the perception we have about it.
I saw a window as a perfect object. In general, I see window as a medium between outside and inside, which is necessary for providing a room with light. If someone builds a building without windows ( by saying windows I am referring to everything what could be perceived as a window, even a hole in a wall) is it still a building or is it just a dark cube which, in my opinion, relates to fear, unconsciousness and lost. So, referring to this windows purpose is to provide a building with life, save the inhabitants from the elements as well as it has a link to consciousness, freedom and light in general. In this case what makes a window to be a window – is it the place where it is placed or is it the whole window’s perception in both physical and psychical terms. Therefore, I’ve chosen a particular place in studio- a wall connecting studio and a cage on the 2nd floor where is a window in front of it.
This chosen place has leaded me to another ‘discovery’ I have made. If I placed a mirror instead of a glass in the window sash then people could see an actual window in my fictitious window. In my opinion, it doubles the confusion. The window is not real, but there is a reflection of the real window. Does it make the fictitious window real? For me, this reflection creates a strange connection between reality and imagination. It connects both windows, so in this case it compounds real and not real things together. So, my window is the reflection of a window in two ways: the first one is the reflection of windows perception in general and the second one is a visual reflection of the window in front of mine. I’m interested in playing with this relationship between what is real and what is not and how far would you go in order to break the wall in between these two different dimensions.

Popcorn?

I would like to work on something that would criticize our lack of reaction and awareness towards what's happening in the world. Socially and politically we people are often philistine and this project is about questioning our psychology and making people think who we are and what we are doing to stop the problems in the world. We live in a time of hypocrisy and every single day we can see examples of it...(ok enough intro)

I would like to use a corner of a room (not sure which room) and I would like to put a vintage tv with footage of entertainment, images that cheer you up - perhaps changing channels like someone would be zapping. Around and behind the tv you will be able to see rubble and debris and and in front of the tv you will see a rocking chair made out of black hands - you can guess now that this project is about the "earthquake" in Haiti. I had the inspiration to this project when I saw all the dead or injured people on the streets and between the collapsed buildings. Especially the ones where you can see hands sticking out of the debris. We see shocking images and a few moments later we can be happy and totally forget about it - this project should point out the hypocritical behaviour and make people think what we do wrong - of course I'm not excluding myself and I see this first as a self critique.

I have friends of Haitian origin and I know how difficult their lives is, no matter if they live in Haiti or in the States - and now it's even worse for most of them. I started questioning myself if seeing all the recent images are actually affecting me and if not why?

I want to call this project: "Popcorn?" or "Comfy?"

let me know if you have any suggestions or critique and perhaps you think that this is not really appropriate for the room project

...don't hesitate to let me know. thanks

Serkan

David Černý: Entropa

Julieta's post reminded me about this:

Michael Johansson - FOR ANA

http://www.michaeljohansson.com/works.html

Barging In to Venice

The Brooklyn artist Swoon and her merry band of anarchists from deepest Bushwick are invading the Venice Biennale this week—on boats built from garbage. New York City garbage.

Venice was settled originally by refugees fleeing the barbarian hordes—who, apparently, didn’t like water. But that was then. This week, Swoon, a 31-year-old Brooklyn artist whose name is Caledonia “Callie” Curry, is leading a waterborne invasion of the Venice Biennale (she didn’t bother to try to get in officially) with a crew of 30 artists, musicians, and miscreants in tow.

Read more:
http://nymag.com/arts/art/features/57181/

Thursday January 28th

We meet in college as usual, and then at 11am have an appointment with the curator of the Buckminsterfullerene Dream which is on Clerkenwell Road. She will answer questions about 'pop-ups' and the first stage after leaving college (and more besides, no doubt)

Please note that progress tutorials have shifted to meet this.

SHAPING SCULPTURE

Please join us to celebrate and launch the Shaping Sculpture 2010 programme and the first in the series of Shaping Sculpture publications. Throughout 2010 University of the Arts London is focusing attention on the practice of sculpture. Developing a programme to take place over the course of the year Shaping Sculpture aims to critically engage in the production and medium of sculpture as it exists today. Through an interrelated series of publications, exhibitions, artist discussions, and conferences Shaping Sculpture is an examination into the act of making aimed at revealing new methods of supporting current and future artistic practice.
 
The first Shaping Sculpture publication opens up the discussion surrounding the processes behind contemporary sculpture practices by inviting artists to curate its pages. Throwing open the possibilities of illuminating the subject of sculpture from the perspectives of those that are most engaged in the discipline. The offer of curating the publication's pages provides opportunities to uncover the wider interests and relationships artists have with their work away from the surroundings of its normal public presentation.
 
Artists include: Massimo Bartolini, Vanessa Billy, Godfried Donkor, Andreas Fogarasi, Simon Martin, Saskia Olde Wolbers, Damien Roach, Yonatan Vinitsky, Toby Ziegler.

Depressive Room / Marc Abe

As I've been told to choose a space, I couldn't think of anywhere else other than corners, where being sort of hidden and not many people pays attention to. There are several corners I might want to explore but I think I'll go for the one that's near the sculpture room, next to the sink room, across the contextual practice.

I would like to create a room where makes you feel depressed, sad and miserable. Whenever I get depressed, I find some corners, sit there alone, listen to rather pathetic and miserable tunes and go as low as I can. That's how I deal with my negative emotions. (maybe slightly narcissistic in a little twisted way.. like Morrissey. his lyrics are mostly about "ah i'm miserable','oh i'm lonely, no one loves me blahblahblah' sort of things, but he definitely loves himself.) Anyway, so the corners are crucial for me. I'm not always depressed, just to clarify.

Not quite sure what I'm gonna do with it yet. I need to do lots of research, asking people (starting off with you guys obviously!) "what sort of thing make you depressed?"or"what do you do when you're depressed/how do you cope with it?" etc.

Thank you. M

Marna's room proposal
From the pda project i've become slightly obsessed with sweat. I made several bag casts and to keep them protected placed them back into their bags. This then caused a great deal of condensation inside the bags almost as if the casts were sweating. So this process has lead me to work with the heaters. The aim is to capture heat in such a way that it appears to be making a surrounding object sweat. I want to first strip back the heater from years of paint and other marks, then box it in within some kind of box. As heat is not visible im hoping the effects will be (condensation within the box). I'm keen to use the heater within the cage area as it lies against a flat wall with plenty of construction space. This is just an idea and i can see plenty of change/ adjustment happening during this project.

TASCHEN WAREHOUSE SALE! 22, 23 and 24 of Jan

Thousands of slightly damaged and display copies from TASCHEN on sale at bargain basement prices, 50-75% off.

http://www.taschen.com/pages/en/stores/index.taschen_stores.htm


got lovely books for 2, 3 and 4 punds today!

Room proposal - Robert

I'm still exploring ideas, but the one that excites me right now is using rope (possibly shock cord, the kind you use for bungee jumping) to 'hug' and encase the walls.

The rope would come out of a box with two holes I found in the room (in the corner where Julieta usually sits), get out of the door closer to The Cage, press against the outside of the wall (very tight against every corner), come back in through the middle door, press against the inside of the wall, come out again through the first door, go all the way to the door at the other end...

Anyway, you get the picture. It's about constraining/mapping/contesting the walls and their arbitrary, zig-zag shape. It's about the simplest line available, about flow and about an imagined line made real.

I'm still in wondering stage, hence the lack of clarity of the above, but hey.

Free Farocki

This Sunday, there's a free screening of a Harun Farocki documentary at Tate Modern:

http://www.tate.org.uk/modern/eventseducation/film/20926.htm

I can't make it, but it looks good.
Have a nice weekend!

Periodic Table

In reference to the periodic table on the Materials Language project. There is a new series on BBC4 about chemistry. The presenter is a bit wooden, but nevertheless its interesting to see what happens when you put an iron bolt on the surface of Mercury, how to make a primitive battery, or Humphrey Davey heating potash to find potassium. Especially interesting if you have been reading Primo Levi's The Periodic Table.

http://www.bbc.co.uk/iplayer/episode/b00q2mk5/Chemistry_A_Volatile_History_Discovering_the_Elements/

also one on chaos theory from the same presenter:

http://www.bbc.co.uk/iplayer/episode/b00pv1c3/The_Secret_Life_of_Chaos/

Hermione Room Project Proposal

I want to continue working with light. I like the concept of using the blue print of the lights transformed in to a cut out shapes that will eventually be the only source of light through the window.The fact that natural light changes will allow me to involve electrical light as part of the proposal. For when it become dark out side, you will have to view the piece of work from another window that looks on to our class room. You will then see the cut out shapes due to electrical lights. Having this contrast is important because I think it is more interesting to view a piece of work that is effected by an uncontrollable factor. It either gives the observer a choice of how to see the work, or forces them to a different area to see the intended effect depending on the time of day or the weather conditions out side. The involvement of change in this proposal relates to the previous project I did, looking at how light can change materials and cause them to move. I want to possibly involve mirror and heat sensitive materials as part of the final out come, to enhance this idea of change and flexibility of light.

DAVID LYNCH interview project

http://interviewproject.davidlynch.com/www/#/about

"What is Interview Project?
Interview Project is a road trip where people have been found and interviewed.
People should watch Interview project because they are going to meet houndreed of people."
David Lynch


Personally, I feel a strange mixture of absolute cliché with an uncontaminated simplicity of being what it is without pretending to be anything else.
Anyway, take a look!
Juli.

Room Project - Julieta Morano

I am inside this room, I am outside this room but inside the building, outside the building but inside this block,

Where can I situate the limit between two spaces? It seems to me that we automatically relate going through doors with the concept of changing spaces, going in and going out.

My exploration for this project arises from this idea and develops in the research about this "space in between" or non-space. As a starting point I felt the need of contextualizing this ideas. I found philosophical, cinematographic and literature references in order to be conscious of what has already been explored.

I decided to work with the doors in the studio because they are the only elements that give us or any human being the "possibility" of physically transporting ourselves from one space to another. From a material point of view, I can relate the "place" between spaces to door frames and the 12 cm. of thickness they generally occupy,
I have been observing and documenting different types of doors and doorways, and the way they work and are used in the daily activities.
From a conceptual point of view I can relate this whole idea to moments of traveling from A to B, as well as spaces and situations which are ment to be temporal, not to be paid attention to.

I will start the making process with some models not only of the site but also of the feeling the idea generates. From our human viewpoint, different kind of materials make us feel different kind of possible actions, and I am interested in exploring the possibilities a door signifies.
I am not sure how this investigation will develop, and with complete consciousness I am choosing to work hard and give this project the freedom to evolve and change and fail while happening, I feel this the only way of keeping it alive.

See you tomorrow!

Julieta.

Proposal for Room Project

I began taking pictures of the classroom and the entire floor looking for characteristics of the place as well as similarities. I noticed the ongoing linear structure that the entire building holds; as we probably all noticed, everything comes in cubes, straight lines, squares… even the building itself looks like a giant rectangular cube. This, therefore, made me think of the total opposite. I began to think of circular and curved shapes. Forms that simply contradict everything we are surrounded by.

I then began sketching. I want to create an installation using fabric (nylon being the first idea) and sand. I’m interested in fabrics that can be stretched and that have a degree of transparency, as together with the sand it will create the curved forms that I’m looking for. I’m eager to experiment with different fabrics as well as the sand paying close attention to how both of them react together (for example: the weight of the sand on the fabric, whether the sand goes through the fabric, whether the fabric is transparent enough to see the sand, etc).

I haven’t decided what space to use yet, but it would be extremely important to have a place where a large amount of strings can be hung from. The first thing I thought of was the cage area outside the class as the sand would make the entire piece quite heavy to simply hang it from the ceiling, yet I know other people are eager to take it too.

The installation itself will be shaped throughout the entire process of experimenting. I have sketches of the entire idea, but I know that most of it depends exclusively on the type of fabric I decide on. On the following days, I will play around with different fabrics as well as sand; and hopefully by the beginning of next week the idea of the entire installation and the design of it will be complete.

I look forward to it!

Stephanie

room project proposal (caroline)

Human vanity: the hair on our heads, the lipstick on our lips and the walls in our building--I've chosen to take advantage of the space in which we work and treat it as a little piece of architectural vanity, directly in relation to human vanity. To achieve that, I've selected lipstick and hair--two common things associated with vanity in our society, and ideally, I'd like to place those things in what I view as the most aesthetically concerned part of the building. That space, being the tiny, narrow staircase leading to the roof, or non-5th floor--it's a space that is thoughtfully laid out, given a window, a skylight, a painted ceiling and is maintained as well the rest of the building, the difference is that it is hidden from the interaction of the building's inhabitants. This is indeed fascinating to me. It's like dressing up to never leave the house. Or polishing an automobile that doesn't leave the garage. It's a mysterious, intriguing and quite frankly, a beautiful space and I'd like to take it, apply these two forms of physical vanity that I have chosen to investigate and turn this purely aesthetic space into literally, a living space.

To live in vain, in a literal sense, and in a space that serves little function as it is.

That said, this particular space's only apparent serious health and safety issue is a green fire exit sign leading down the stairs (as defunct as they are), which can easily be worked with, as long as the staircase is still useable and not blocked off from access. This is the issue: I realize that by using this space, I am breaking the guidelines of the project, and for that reason I have also transfered my reasoning and concept to two other spaces, though I do find them less effective for what I'm looking to do.

I've begun an investigation into how exactly lipstick is made and have contacted a few manufacturers and will soon attempt to make my own for the project. As for hair, I've arranged to collect that which is leftover at the end of each day at (thus far) seven hair salons in east London.

The details of the outcome are uncertain as I expect it all to develop along the way. Through the creation of models and preliminary experimentation with materials, I've determined that I'll use my two mediums to execute a sort of domestic interior environment, possibly wallpaper and carpet, or light fixtures, or a piece of furniture, made specifically for the space and mimicking the visual effect of the area. The main concern at this point is that the piece be friendly: I want to the viewer to be able to touch and interact with it.

It will take a couple more days of investigation and research to determine the exact plan, however, I have complete faith in that I will be able to execute my plan within the given time constraints and am truly enthusiastic for what is to come, whether it be a success or failure.

Upcoming show

Katie Cuddon- ''I no longer know what the money is''

Friday January 29th-Sunday March 28th 2010

Private View: Friday January 29th 6pm-9pm

Alma Enterprises is proud to present "I no longer know what the money
is", Katie Cuddon's first solo show in London. The exhibition shows a
new installation, which brings together the two principle strands of
her practice, sculpture and drawing, within a single work.

Within this installation at Alma, a series of drawings are projected
in conversation with a sculpture in the space. The hundred or more
drawings are displayed at a frustrating pace, and the sculptural work
is slightly obscured by the framework of a plinth housing the
projection equipment. In this way, Cuddon alters the conditions of the
gallery space and forces the viewer to question the values of the
elements that form the singular work.

Biography:

Katie Cuddon was born in London (1979). She studied at Glasgow School
of Art before graduating from The Royal College of Art in 2006. She
was a winner of a Deutsche Bank Pyramid Award in 2002 and a Jerwood
Drawing Prize in 2005.

http://www.almaenterprises.com/current_show.html

Alma Enterprises
38-40 Glasshill Street, (just off of the southside of Blackfriars Road- Southside of Blackfriars Bridge)
London,
SE1 OQR
email:info@almaenterpises.com
tel:+44 (0)7769 686826

Some Links and Room Proposals

As discussed in the studio on Monday please post your written proposal (designed to get your thinking going) for the Room project, max of 150 words, by 8 pm todayWednesday20th Jan. please.

If you still require an erly Reference for UCAs (new dedline22nd Jan) then please let me have your Personal statementby the end of today please. If I do not have this I will not be able to complete your reference.

Please find some links that may be of interest to you.


http://www.davecarrsmith.co.uk/

http://sketchup.google.com/product/gsu.html

http://www.tiranti.co.uk/

http://uk.rs-online.com/web/

http://wastedspaces.org/2009/08/savvas-papasavva/
http://miscpro.co.uk/ (Former Student)

http://dkgriffiths.com/ (Former Student)

http://www.nomad.org.uk/about

http://www.cornfordandcross.com/

http://www.simonlewandowski.co.uk/



I look forward to seeing you all tomorrow,


Pierpaolo

Lectures

Todays presentation, and another relating to Materials Investigation posted in Blackboard, Fine Art, Lectures, Sculpture lectures

Please ensure all work done since starting in Sculpture is in for Thursday's PDA assessment

Tuesday 19^th Jan

 

Visit to a site specific sculptural work.

Assemble at Starbuck’s as below for 10.30. Get yourself a coffee or something.

Please ensure you are on time, and you have at least one other student mobile to help if you are running very late but are coming

Nearest tube is Fulham Broadway

If you cant make it, we will be having a normal taught afternoon as usual.

 

 

Shaping Sculpture

2010 is the University of the Arts year of Sculpture

This is the website

This is a unique opportunity to become involved in a whole range of events.

http://www.shapingsculpture.com/

Artreview Latest

http://www.artreviewdigital.com/?utm_source=ArtReview+Ltd+List&utm_campaign=43af645d09-JanFeb_ArtReview_now_online14_01_2010&utm_medium=email

Does this help towards explaining why we make art?

http://www.newscientist.com/article/mg20527431.300-five-emotions-you-never-knew-you-had.html?DCMP=NLC-nletter&nsref=mg20527431.300

dear team sculpture,

GO TO THE CAMDEN ARTS CENTRE to see Eva Hesse and Katja Strunz
(and if you have already, go again!)



How perfect, you can see evidence of Eva's study of the material language as all of the pieces on display are "test-pieces" and are mostly small and experimental.

From the inside of the leaflet: "The joy and freedom of Hesse's art is staggering. Any young artist could get an education just by coming to this show a few times." Jonathan Jones, The Guardian

...and don't miss the video playing in the reading room! It's an excerpt from a documentary made in '87 about the span of her work.

AND, an exciting display of Katja Struntz's Sound of the Pregeometric Age. It's comprised of tons and tons of found objects, mostly brass, mostly musical instruments on stands with different sounds being played softly from each, an attempt to "test the limits of space."




there you have it!

Antony Gormley: Making Space

http://www.channel4.com/programmes/antony-gormley-making-space/4od#3020718

Air Sampling Petri Dish Fungus Pictures

http://www.aegisasia.com/img/petri_dish_fungus/petri_dish_fungus.html

grandmother of performance art (self-proclaimed)

Marina Abramović in W Magazine this month.

Bad weather and college opening

Hi all

I am hoping we are still going to be able to have a full day at college tomorrow. Back Hill was open today. Please however all check your MyArts page where there are regular updates or call Back Hill reception on 0207 514 6821. It will certainly be a very good time to use the workshops to the full, as there may be fewer students around.

If you live a long way from London, it is understandable that you might choose not to risk coming in—however, it is really important you continue to work hard as if you were in college. This is a very important time of the year in terms of making work.

Regards

Adrian

resonata: a wave machine

cooooool

http://oolong.co.uk/interact.htm