News & Events April 2010
Bad Faith: Common Culture Golden Thread Gallery, Belfast
19 March - 8 May 
Bad Faith is an exhibition by the collaborative artist's group Common Culture (David Campbell, Ian Brown and eCPR's Professor Mark Durden). The Bad Faith exhibition will feature the first showing of Common Culture's new work "I Dreamt I Was A Monkey - And They Made Me Wear Shoes", a multi-channel video installation featuring "ex-TV ‘soap' actors performing scenes of discrete social interaction" set against a backdrop of high street consumption.
Robert Pepperell at Toward a Science of Consciousness Tucson Convention Centre
April 12-17, 2010The 2010 Tucson conference Toward a Science of Consciousness, is the ninth in a series of biennial gatherings on a broad spectrum of approaches to the fundamental question of how the brain produces conscious experience. Professor Robert Pepperell (CFAR) will present his paper "Art, Indeterminacy and Consciousness" during the Art, Media and Conscious Perception panel session and chair one of the art-tech demo sessions. Sponsored and organized by the Center for Consciousness Studies at the University of Arizona, Toward a Science of Consciousness has played a major role in shaping an interdisciplinary field composed of neuroscience, philosophy, medicine, physics, biology, psychology, anthropology, contemplative and experiential traditions, arts and humanities and others.
Theatre Applications: Performance with a PurposeCentral School of Speech and Drama, University of London
21 April 2010 - 23 April, 2010 Professor Andre Stitt (CFAR) will be presenting a paper entitled "Performing Political Acts" at the Centre for Excellence in Training for Theatre's 4th annual international conference. Organised in association with RiDE: The Journal of Applied Theatre and Performance, the conference will addresses applied, social and community theatre, and forms of performance that are intended to make a difference to participants' lives. Stitt's paper will be presented as part of the "Difficult heritages: witnessing and remembering" panel chaired by Amanda Stuart Fisher. Other themes explored by the conference include Aesthetics and the purposive practitioner, Cultural geographies of dislocation, place and space, Memory, commemoration, histories and presence, Political contexts, commitments and constructions, Advocacy, self-advocacy and creative agency, Witness, testimony, authorship and ownership.
Andreas Rüthi: Double page paintingsDuckett and Jeffreys Gallery, Yorkshire29th April - 5th June 2010 Andreas Rüthi's solo exhibition looks at the relationship of high and low art through a series of still life paintings. This latest series of work is an expansion of this concept. More objects, figurines and fruit are laid out on a variety of surfaces and levels. Now, there are two or more reproductions in the picture: blurring the boundaries between high art and the vernacular both with the choice of subject and process of painting. The distinction between high and low is less certain and dissolves, consequently the pictures move a away from the centred staging, which was part of the concept in the earlier paintings and still life painting of the past. The decentralized setting activates the picture plane together with using a variety of modes of applying the paint. The process of painting is a combination of retinal and rational observation. The images within are like windows that open up into other spaces. These paintings take a ‘post-abstract' position.
New Issue of Interpreting Ceramics
Tableware in Sienna pattern by Jessie Tait on Fine Shape, designed by David Queensberry for W. R. Midwinter, 1962
The 11th issue of the electronic journal Interpreting Ceramics is now available to view online. The articles cover a range of subjects and interests although all of the authors are concerned in some way to locate our understanding of ceramics within social, cultural and political contexts. Jo Dahn offers a fascinating insight into the world of ceramics production and consumption in the West Midlands in England during the late eighteenth and early nineteenth century. In his discussion of the post-war British ceramics industry, Graham McLaren identifies the notion of Britishness as an important defining factor in the search for an appropriate aesthetic which would drive forward the reconstruction of the industry in a period of rapid economic and institutional change. Ozioma Onuzulike uses the example of his mixed media project Suyascape to provide an insight into the kind of technical and conceptual transformations currently taking place in the contemporary Nigerian ceramic art scene. Jane Webb reflects on her conversations with Stephen Dixon after his three month residency as part of an exchange scheme at the JamFactory in Adelaide, Australia. Graham McLaren reviews the book Studio Pottery in Britain 1900 - 2005 by Jeffrey Jones and there is a report of the 2009 Zelli Porcelain Prize. There is also a review by Garth Clark of Judith S. Schwartz's book Confrontational Ceramics and this is followed by a response from the author.
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