tag:blogger.com,1999:blog-13626226993393298912024-03-13T15:01:52.782-07:00Topographies of the obsoleteAnonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.comBlogger48125tag:blogger.com,1999:blog-1362622699339329891.post-33049857455094764212013-09-30T03:06:00.004-07:002013-09-30T05:15:45.198-07:00TOPOGRAPHIES OF THE OBSOLETE: VOCIFEROUS VOID IS NOW OPEN TO THE PUBLIC!<span style="font-family: 'Trebuchet MS', sans-serif;">The day finally arrived! The result of the artistic activity connected to three workshops over the course of one year, arranged by the artistic research project Topographies of the Obsolete, is now open to the public. The exhibition and project maps the site through various media and artistic strategies that encompass object appropriation and re-contextualisation, architectural intervention, lens-based work and performative gesture.</span><span style="font-family: Trebuchet MS, sans-serif;"><br /><br />"Topographies of the Obsolete: Vociferous Void" is the first major exhibition of the on-going artistic research project "Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry". Engaging 32 international artists, with multi disciplinary approaches in affiliation with 5 institutions, the exhibition investigates the remnants and post-industrial ruin of the original Spode factory site.<br /><br />The directors of the British Ceramics Biennial, Barney Hareduke and Jeremy Theophilos, welcomed everyone to the exhibition and the British Ceramcis Biennial. The opening speech for "Topographies of the Obsolete: Vociferous Void" was made by Professor Nina Malterud, member of the Steering Committee of the Norwegian Artistic Research Programme. The head of cultural affairs at the Norwegian Embassy in London; Eva Moksnes Vincent, attended the opening in order to see the results of the project.<br /><br /><b>Performances on opening day:</b><br /><br />Andrew Brown: "A Walk through S"<br /><br />Richard Launder & Julia Collura: “Glancing at Spode”<br /><br />KELLY / MARHAUG: "Slipping" from Chapter three: Mandarin Dust</span><br />
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-91742687138116013642013-09-21T13:32:00.002-07:002013-09-21T13:32:35.682-07:00New website!!!Yes, we now have an official website where you can keep track of all our activities, participants and news!<br />
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Please visit:<br />
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<a href="http://topographies.khib.no/">http://topographies.khib.no/</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-66356855594774448462013-09-17T03:46:00.000-07:002013-09-19T11:21:26.739-07:00Detroit receives 2.1 million dollars in Arts Funding.Great news! Detroit receives 2.1 million dollars in Arts Funding.<br />
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Lets hope that Stoke-on-Trent gets the same support and energy sometime soon.<br />
<br />
<a href="http://hyperallergic.com/83557/a-look-at-detroits-2-1-million-knight-arts-grant-projects/" target="_blank">http://hyperallergic.com/83557/a-look-at-detroits-2-1-million-knight-arts-grant-projects/</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-40155977898763266082013-09-13T05:56:00.002-07:002013-09-19T11:20:56.051-07:00Press release for "Topographies of the Obsolete: Vociferous Void"<div class="separator" style="clear: both; text-align: center;">
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PRESS RELEASE 6.9.2013</div>
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<span style="font-size: medium;"><b>TOPOGRAPHIES OF THE OBSOLETE: VOCIFEROUS VOID</b></span></div>
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<i><b>Site-specific responses to the post-industrial landscape of Stoke-on-Trent</b></i></div>
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<i><b>at the Original Spode factory site, Stoke-on-Trent, UK </b></i></div>
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<b>Pre-opening Friday September 27th, 14:00 – 17:00.</b></div>
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<b>Press preview: </b></div>
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<b>Thursday September 26 3pm and Friday September 27 10am or by appointment. </b></div>
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<b>Please contact: </b></div>
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<b>Neil Brownsword, tel: +44 7758645450 mail: neil.brownsword@khib.no</b></div>
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<b>Anne Helen Mydland, tel: +47 47243995 mail: ahm@khib.no</b></div>
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<b>The exhibition will run from the 27th of September to the 10th of November as a part of the British Ceramics Biennial (BCB) 2013, and is part of a artistic research project initiated by Bergen Academy of Art and Design. Norway (KHiB), and partner institutions.</b></div>
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<b>“Topographies of the Obsolete: Vociferous Void” is the first major exhibition of the on-going artistic research project “Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry”. Engaging 32 international artists, with multi disciplinary approaches in affiliation with 5 institutions, the exhibition investigates the remnants and post-industrial ruin of the original Spode factory site. The industrial architecture spans from the 18th to the 20th century, with vast production halls, design studios, show rooms, smaller workshops, backyards/courtyards, and alleyways, offices, shops, mould stores, cellars and attics. The artists have encountered extreme dereliction with the forces of nature reclaiming the building, alongside more well kept, ordered, and attended areas. The result is a selection of works made on site, in spaces which have been previously closed to the public. During three residencies over the past year, the exhibition and project maps the site through various media and artistic strategies that encompass object appropriation and re-contextualisation, architectural intervention, lens-based work and performative gesture. </b></div>
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The exhibition is curated by Professors Anne Helen Mydland and Neil Brownsword, from Bergen Academy of Art and Design (KHiB) Norway, as a major exhibition element to the 2013 British Ceramics Biennial, hosted at the original Spode Works. The exhibition’s concept explores ‘ceramics/clay as subject’ through a range of interdisciplinary practices which will question and examine interconnected themes including the contemporary ruin, the socio-economics of post-industry, the globalized landscape of ceramics and the artist as archivist/archaeologist. The exhibition deals with the physical site itself, and the human presence, history and individual and collective memory that constitute this place.</div>
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<b>Exhibiting artists:</b> </div>
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Kerstin Abraham (GER), Karin Linnèa Blomgren (SE), Margrethe Kolstad Brekke (NO), Andrew Brown (UK), Chloë Brown (UK), Neil Brownsword (UK), Andreas Fabian (GER), Tina Gibbs (UK), Karen Harsbo (DK), Gwen Heeney (UK), Camilla Holm Birkeland (NO), Sofie Holten (DK), Lena Kaapke (GER), KELLY/MARHAUG (UK/NO), Richard Launder & Julia Collura (UK/USA), Danica Maier (USA), Morten Modin (DK), Anne Helen Mydland (NO), Heidi Nikolaisen (NO), Sabine Popp (GER), Toril Redalen (NO), Tone Saastad (NO), Johan Sandborg (NO), Erna Skúladóttir (IS), Caroline Slotte (FIN), Anne Stinessen (NO), Øyvind Suul (NO), Corrina Thornton (UK), Númi Thorvarsson (IS)</div>
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<b>Background:</b></div>
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With the industrialisation of ceramics during the eighteenth century, systems of segregated labour brought about a phenomenal concentration of specialist skills and knowledge to specific regions of North Staffordshire. By 1800 the Six Towns of Stoke-on-Trent paralleled China as a world centre for ceramic production. Paradoxically, recent decades have seen centuries of this cultivated expertise being relocated to the Far East. Company investment in advanced production technology has further contributed to a massive reduction of an indigenous work force and the closure/demolition of once prevalent sites of historic manufacture. In 1948 around 79,000 were employed in the North Staffordshire ceramics industry; the figure now sits at just over 6000. In the current economic climate of rapid change, outsourcing, and innovation, the loss of traditional industry and skills is a matter of widespread public interest and concern. </div>
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The Spode factory, situated in the city centre of Stoke-on-Trent, once a keystone of the city’s industrial heritage, which operated upon its original site for over 230 years, was one of many world-renowned brands that have since fallen into administration. In 2008 its Church Street factory closed, with most of its production infrastructure and contents left intact. Amongst Spode’s contributions to ceramic history is the perfection of the under-glaze blue printing process and the invention and development of Fine Bone China. The factory’s industrial architecture dates from the 1760’s to the late 1980’s, with spaces associated with all aspects of the design, manufacture, retail, and administration in close geographical proximity.</div>
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The artistic research project “Topographies of the Obsolete” is initiated by Professors Neil Brownsword and Anne Helen Mydland, Bergen Academy of Art and Design (KHiB), in collaboration with partner institutions in Denmark, Germany and the UK. The main collaborative partner is the British Ceramics Biennial, who invited KHiB to work at the original Spode ceramics factory site in Stoke on Trent, to develop an artistic response for the Biennial in 2013. More than 40 international artists have participated in this project with a programme of seminars, publications and exhibitions. Three residencies have accumulated individual artistic projects from which the overriding project has developed.</div>
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The project is on-going until 2015, and is funded by The Norwegian Artistic Research Programme, Bergen Academy of Art and Design (KHiB), and partner institutions; The Royal Danish Academy of Art; Muthesius Kunsthochsule, Kiel; Bucks New University, Nottingham Trent University, Sheffield Hallam New University and Newcastle University.</div>
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<a href="https://mail.khib.no/owa/redir.aspx?C=3vOPO-SxEEuh-s8T8tIUJ014kygUhNAI4IneaHaiVeZXzHxMsfbRLFM4qsy_sQsx2AEasdp7Gt8.&URL=http%3a%2f%2fspodefactoryart.blogspot.no" target="_blank">http://spodefactoryart.blogspot.no</a></div>
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<a href="https://mail.khib.no/owa/redir.aspx?C=3vOPO-SxEEuh-s8T8tIUJ014kygUhNAI4IneaHaiVeZXzHxMsfbRLFM4qsy_sQsx2AEasdp7Gt8.&URL=http%3a%2f%2fbritishceramicsbiennial.com" target="_blank">http://britishceramicsbiennial.com</a></div>
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<a href="https://mail.khib.no/owa/redir.aspx?C=3vOPO-SxEEuh-s8T8tIUJ014kygUhNAI4IneaHaiVeZXzHxMsfbRLFM4qsy_sQsx2AEasdp7Gt8.&URL=http%3a%2f%2fwww.khib.no%2fnorsk%2fkunstnerisk-utviklingsarbeid%2fku-prosjekter%2ftopographies-of-the-obsolete%2f" target="_blank">http://www.khib.no/norsk/kunstnerisk-utviklingsarbeid/ku-prosjekter/topographies-of-the-obsolete/</a></div>
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<br />Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-40442265418483207812013-09-13T05:50:00.003-07:002013-09-14T00:35:54.501-07:00Program for the opening night of the exhibition "Topographies of the Obsolete: Vociferous Void" at the British Ceramics Biennial 2013<div style="margin: 0px;">
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<span style="font-family: Trebuchet MS, sans-serif;"><br /></span><span style="font-family: Trebuchet MS, sans-serif;">2.00pm - 5.00pm: Opening at Spode. Please use entrance from Elenora Street.</span><span style="font-family: Trebuchet MS, sans-serif;">Opening speech by Professor Nina Malterud, member of the Steering Committee of the Norwegian Artistic Research Programme.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">8.30pm: Afterparty at the Glebe: </span><span style="font-size: small;"><span style="background-color: white;">35 Glebe Street, Stoke On Trent, Staffordshire ST4 1HG </span></span><span style="font-size: small;"><span style="background-color: white;">T: 01782 860 670</span></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;"><b><i>Performances:</i></b></span></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">Andrew Brown<o:p></o:p></span></b></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">“A walk through S”<o:p></o:p></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Guided Walks.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Meeting point at the Topographies Pavilion. 33 min duration.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Friday 27 September 15.00 (Sign up to be made by 2.30pm max 25 people).</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Saturday 28 September (10.30am and 12 noon)</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Saturday 5 October (10.30am and 12 noon)</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Friday 18 October (as part of the BCB seminar, TBC)</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif;">Places will be allocated on a sign-up basis, a sheet being available from 10am on Sat 28 September and Sat 5 October in the pavilion (for walks at 10.30am and noon). Maximum 25 people per walk.</span></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">Richard Launder & Julia Collura</span></b></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">“Glancing at Spode”<o:p></o:p></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Performance.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Meeting point at the stairwell with round window to the Designers block. Will be marked with a sign and directions in the Topographies pavilion. Approx. 45 min duration.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Audience max. 25 people.<o:p></o:p></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Friday 27</span><sup style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">th</sup><span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;"> 16.00</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Saturday 28</span><sup style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">th </sup><span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">16.00.</span></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">KELLY / MARHAUG<o:p></o:p></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b>“</b><b>Chapter three: Mandarin Dust<o:p></o:p></b></span></div>
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<b><span style="font-family: Trebuchet MS, sans-serif;">Slipping”<o:p></o:p></span></b></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Performance.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">China Hall. 15 min Duration.</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">Friday 27</span><sup style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">th</sup><span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;"> 19.45</span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">17</span><sup style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">th</sup><span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;"> or 18</span><sup style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;">th</sup><span style="font-family: 'Trebuchet MS', sans-serif; text-indent: -0.25in;"> October during conference. Time and place to be confirmed.</span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-90947745425286907162013-09-03T04:00:00.000-07:002013-09-04T02:03:17.479-07:00You are all invited!<div class="separator" style="clear: both; text-align: center;">
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Hope to see you there!</div>
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<a href="http://1.bp.blogspot.com/-onLegLPXHRE/Uib3Md5-sFI/AAAAAAAAA4g/Wu6Qqemvw64/s1600/Topographies_General_Invitation_Mail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://1.bp.blogspot.com/-onLegLPXHRE/Uib3Md5-sFI/AAAAAAAAA4g/Wu6Qqemvw64/s640/Topographies_General_Invitation_Mail.jpg" width="446" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-38410927574082165022013-08-29T04:11:00.002-07:002013-08-29T04:13:54.934-07:00Topographies of the Obsolete: Vociferous Void<div style="text-align: left;">
<span style="font-family: Georgia, "Times New Roman", serif;">We do now have a title for our exhibition that will be part of the British Ceramics Biennial 2013 in Stoke on Trent:</span></div>
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<span style="font-family: Georgia;"></span> </div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Topographies of the Obsolete: Vociferous Void</span></div>
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<span style="font-family: Georgia;"></span> </div>
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<span style="font-family: Georgia, "Times New Roman", serif;">This is the first major exhibition of our ongoing artistic research project "Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry", which has engaged multi disciplinary artists from several nations and institutions in workshops and residencies to investigate the remnants of Spode Works; once a leading manufacturing facility of ceramics. The result is a selection of works made in situ; to be found in various areas of the original Spode site where the production of bone china lasted for over 230 years.</span></div>
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<span style="font-family: Georgia;"></span> </div>
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Here is the link to BCB's post regarding the exhibition and the project: </div>
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<span style="font-family: Georgia;"></span> </div>
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<a href="http://www.britishceramicsbiennial.com/plan-your-visit/whats-on/event/topographies-of-the-obsolete/?mdid=248">http://www.britishceramicsbiennial.com/plan-your-visit/whats-on/event/topographies-of-the-obsolete/?mdid=248</a></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"></span> </div>
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<span style="font-family: Georgia, "Times New Roman", serif;">The exhibitor line-up for <span style="font-size: large;"><span style="font-size: small;"><em>Topographies of the Obsolete: Vociferous Void</em></span> </span>is now official:</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Kerstin Abraham</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Karin Linnèa Blomgren</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Margrethe Kolstad Brekke</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Andrew Brown</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Chloë Brown</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Neil Brownsword</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Andreas Fabian</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tina Gibbs</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Karen Harsbo</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Gwen Heeney</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Camilla Holm Birkeland</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sofie Holten</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lena Kaapke</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">KELLY / MARHAUG</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Richard Launder & Julia Collura</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Danica Maier</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Morten Modin</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anne Helen Mydland</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Heidi Nikolaisen</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sabine Popp</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Toril Redalen</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tone Saastad</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Johan Sandborg</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Erna Skuladottir</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Caroline Slotte</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anne Stinessen</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Øyvind Suul</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Corrina Thornton</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Númi Thorvarsson</span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-87333742691434938412013-08-28T03:13:00.003-07:002013-08-28T04:10:17.954-07:00Logo for Topographies of the Obsolete released<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-n7S7a7QlLfk/Uh3Jgd3s6YI/AAAAAAAAA4A/L-kSQqBuSkg/s1600/TOTO+logo+distressed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="131" src="http://3.bp.blogspot.com/-n7S7a7QlLfk/Uh3Jgd3s6YI/AAAAAAAAA4A/L-kSQqBuSkg/s400/TOTO+logo+distressed.jpg" width="400" /></a></div>
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<span style="font-family: Georgia, "Times New Roman", serif;">We are proud to present the logo for our artistic research project!</span><br />
<span style="font-family: Georgia, "Times New Roman", serif;"></span><br />
<span style="font-family: Georgia, "Times New Roman", serif;">The visual profile for Topographies of the Obsolete is developed by Philip Rawle, based in Uttoxeter, close to Stoke on Trent.</span><span style="font-family: Georgia, "Times New Roman", serif;"> This includes, in addition to the logo, also the publication which is underway as a result of the project's artistic activity and discourse. <span style="font-family: Georgia, "Times New Roman", serif;">We are making a totally made in Britain publication (printing and design) in consideration of the out sourcing happening to European industry, which of course is a major ethical question/factor in our project.</span></span><br />
<span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-family: Georgia, "Times New Roman", serif;"></span></span>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-2845075339011891102013-07-29T11:50:00.000-07:002014-02-10T04:51:44.670-08:00All of China in your hand; a first impression of Spode<span style="font-family: Times, 'Times New Roman', serif;">The lyric writer of British band T’pau,
</span><a href="http://en.wikipedia.org/wiki/Carol_Decker" style="font-family: Times, 'Times New Roman', serif;" title="Carol Decker"><span style="color: windowtext; text-decoration: none; text-underline: none;">Carol Decker</span></a><span style="font-family: Times, 'Times New Roman', serif;">, explained
when asked about the lyrics to </span><i style="font-family: Times, 'Times New Roman', serif;">China in
Your Hand </i><span style="font-family: Times, 'Times New Roman', serif;">that </span><i style="font-family: Times, 'Times New Roman', serif;">“it is the effect that
if you hold a china cup to a light, you can see your hand through it –
therefore 'china in your hand' means something that is transparent.”</i><br />
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<span lang="EN-US"><i><span style="font-family: Times, Times New Roman, serif;"><br /></span></i></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">With this song unavoidably playing itself in
the back of my conscience since I first started to work for <i>Topographies of the Obsolete </i>in June, I
think of my misunderstanding of these lyrics as a young child; that it is about
comparing something seemingly impossible to the act of trying to gather the
nation of China into your hand.</span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Being introduced to Josiah Spode, before
heading off to Stoke on Trent for the first time, made me aware of the fact that
he managed to give a piece of ‘Chinese luxury’ to many a hand. With Anne Helen
Mydland explaining the details of Spode’s bone china and blue under-glaze
printing technique, by showing samples at Spode Works Museum, it became clearer
why this novel equivalent to porcelain became sought after.</span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">The local community prospered and declined parallel to
Spode during those 230 years of production. There is something here, in these
surroundings, that reminds me of the old Norwegian post industrial town of
Odda; an intangible mood of some sort that saturates the terrain. </span><span lang="EN-US">Seeing the closed down factory for the first time, it seemed remote
to me, even though it dominates the area physically with it stretching over a
large portion of the urban territory. Here, time is frozen in some ways and
accelerated in others. Decorative Christmas lighting on the outside makes sure
everyone knows what time of year you enter when you enter Spode. However, the
advancing decay speeds up the perception of time. Inside, it looked like there
has been inactivity for several decades, not just for a few years. The process
is astonishingly rapid.</span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">Being guided around Spode, I noticed traces
of human activity visible in the various rooms. The factory became more ‘transparent’,
in a sense, when it began to reveal bits of its past. Objects left behind gave
hints about previous work in the different departments of the factory; traces
of former bodily routines. All played out in these document-filled offices, dusty showrooms, great factory halls, and mysterious
storage areas for casting equipment as the ‘keepers of memory’. Even though I
haven’t been working in the factory, as a participant in the previous workshops,
I nevertheless experienced the desire to interpret and create; to <i>revive</i> something in this place.</span></span></div>
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<span lang="EN-US"><span style="font-family: Times, Times New Roman, serif;">I've learned that the song <i>China in Your Hand </i>is about Mary
Shelley’s <i>Frankenstein</i>, a novel which
was the outcome of a conversation regarding the possibility of bringing a dead
body back to life. Shelley started writing her novel the very same year that Spode
first launched the <i>Blue Italian</i>
range.</span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Jane Sverdrupsen, research assistant</span></div>
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<a href="http://3.bp.blogspot.com/-wH_Unb6vGMQ/UfauN8KwmHI/AAAAAAAAA1M/h2MLRGZQzvU/s1600/IMG_2605.JPG" imageanchor="1"><span style="font-family: Trebuchet MS, sans-serif;"></span></a></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-RAsEfNAIbaI/UfeJAarn9NI/AAAAAAAAA3E/okA7W_RIIYk/s1600/IMG_2605.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-RAsEfNAIbaI/UfeJAarn9NI/AAAAAAAAA3E/okA7W_RIIYk/s400/IMG_2605.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, 'Times New Roman', serif;">Anne Helen Mydland explaining the process of Spode's blue under-glaze printing technique. With Neil Brownsword, Øystein Hauge and Johan Sandborg.</span></td></tr>
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<span style="font-family: Times, Times New Roman, serif;"><a href="http://3.bp.blogspot.com/-GwmwCDly8cI/UfauXGVfnwI/AAAAAAAAA1U/d2w5RFLkpzQ/s1600/IMG_2608.JPG" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-GwmwCDly8cI/UfauXGVfnwI/AAAAAAAAA1U/d2w5RFLkpzQ/s400/IMG_2608.JPG" height="400" width="300" /></a></span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-zuz-Qhh5gXE/UfauguO9OgI/AAAAAAAAA1c/n0bxmwedZJM/s1600/IMG_2611.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-zuz-Qhh5gXE/UfauguO9OgI/AAAAAAAAA1c/n0bxmwedZJM/s400/IMG_2611.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif;">The first impression of Spode.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif;">Bits of history of the pottery craft at Spode, told by Anne Helen. Øystein Hauge paying close attention.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif;">The oldest plaster moulds in storage.</span></td></tr>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0Stoke-on-Trent, Storbritannia53.002668 -2.179403999999976852.849849 -2.5021274999999767 53.155487 -1.8566804999999769tag:blogger.com,1999:blog-1362622699339329891.post-89238813896345106342013-06-20T09:39:00.002-07:002013-06-20T09:39:38.280-07:00<a href="http://potbankdictionary.blogspot.co.uk/" target="_blank">Dictionary of words and phrases used in the Potteries.</a><br />
<br />
To see, just click the link!Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-51249067297527668962013-05-31T02:49:00.002-07:002013-07-29T10:51:39.132-07:00Virtual Library. <br />
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<span style="font-size: 11pt;">See all the publications in our Topographies of the Obsolete shelf at the library here at Kunst- og Design Høgskolen i Bergen. This reading list was compiled by suggestions from all of the participants in the Topographies of the Obsolete project. </span></div>
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<a href="http://khib-biblioteket.blogspot.no/2013/03/topographies-of-obsolete.html" target="_blank">See the collection here.</a></div>
Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-42689222054120794302013-04-28T12:21:00.000-07:002013-08-28T02:53:13.682-07:00Gwen Heeney Reflections on the Spode Workshop March 2013<br />
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<span style="font-family: Verdana, sans-serif;"><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Reflections on my time at the international workshop; Topographies of the Obsolete at the Spode Factory March 2013. During the workshop I identified two of the main stands of the project; the post industrial landscape as site and</span><span style="font-family: "Times New Roman","serif"; font-size: 7pt; line-height: 115%; mso-fareast-font-family: Arial; mso-fareast-language: EN-GB;"> </span><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">topography of objects/archives<o:p></o:p></span></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif;">My main focus was to create a series of narratives using light, space and objects which would become signifiers to the past and the obsolete. I was immediately drawn to the light in the China Hall a vast open space which throughout the day became altered by the light.<o:p></o:p></span></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif;">I became aware of the significance of the mould store, an important archive of information illuminated by light streaming through the windows. I had a sense of a knowledge store; of files/ records/archives. I began to view the moulds as an important archive which needed to be explored and catalogued...in some way to be made sense of.<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In the store the moulds manifested themselves as objects with a great tension stored as though still precious; they presented a record to a past‘site’ of invention, a record of creativity. Like the shell of the empty building each mould represented a shell of a productive past. Light reveals shadows; the shadows reveal the anthropology of the forms within...Since the workshop I have been reading </span><i><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The Shadow Club,</span></i><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> Roberto Casati. published by Little Brown<o:p></o:p></span></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif;">I started to make sense of the moulds in a very formal way, spending a great deal of time selecting each one and placing them carefully in grids in the China Hall where the light illuminated the interior spaces. Using different configurations I started to formally articulate a visual language which addressed issues of collective memory, history of ‘place’, mapping of creative pasts, but also made connections with current information technology i.e.‘Quick Response Codes’. They became a means of communicating the past and possible declaring/ predicting the future. A key to the skills left behind. They provoked descriptions such as profiles, building blocks (DNA) of the companies creative past; an industrial excavation/study<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The moulds as multiple structures slightly parted, laid out in grids on the floor took on a futuristic appearance; the shadow and light penetrating the interior space began to deepen the language giving a glimpse of the abstract interior forms a glimpse of past creativity. The Light and shadow on another level physically and metaphorically described the past ‘dark side’ of the company; the physical labour which marked its worldwide success. A reference here to Calvino </span><i><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Invisible Cities</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></span></div>
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<span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif;">I created a series of photo montages of the interior of the China Hall; industrial landscape as site which investigated the way light changes our perception of space.<o:p></o:p></span></span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-family: Verdana, sans-serif;"><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Marco Frascari the architect states</span><span style="font-family: "Hollander-Regular","serif"; font-size: 14pt; line-height: 115%; mso-bidi-font-family: Hollander-Regular; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">“architecture exists because of light; palpable material light (<i>lume materiale</i>), something born in the materials of construction and</span><span style="font-family: "Hollander-Regular","serif"; font-size: 14pt; line-height: 115%; mso-bidi-font-family: Hollander-Regular; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> </span></span><span style="font-family: "Arial","sans-serif"; font-size: 14pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Verdana, sans-serif;">imprisoned in the body of an edifice as the mind is imprisoned in the body”</span> </span></span><span style="font-family: "Hollander-Regular","serif"; font-size: 14pt; line-height: 115%; mso-bidi-font-family: Hollander-Regular; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-33341867178293170872013-04-08T06:16:00.000-07:002013-04-08T06:16:08.362-07:00"Disaster Photography: When is Documentary Exploitation." Text by Richard B. Woodward.<span style="background-color: white; font-family: Georgia, 'Bitstream Charter', serif; font-size: 14px; line-height: 21px;">A text on “Ruin Porn” and representing disasters.</span><br />
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<a href="http://www.artnews.com/2013/02/06/the-debate-over-ruin-porn/" target="_blank">Read full article</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-24280644361454862712013-04-08T02:02:00.002-07:002013-04-08T02:02:51.561-07:00"The Site is the Question" Airspace Gallery, Hanley, Stoke-on-Trent.During our second workshop we held a research in progress show with works and documentation of work from the first work in progress show in Rom8 in Bergen with additions as we progressed on site at Spode for the second workshop. This time we were very happy to hold it at Airspace Gallery. Here is a sneaky peek at what it was like.<br />
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<br />Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-30589876133913963662013-04-08T01:51:00.000-07:002013-04-08T01:51:28.899-07:00Topographies of the Obsolete receives funding from the Norwegian Artistic Research Programme.<br />
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The project "Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry", headed by Professor Anne Helen Mydland, has just received funding from the Norwegian Artistic Research Programme.</div>
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The focus of the project is on the landscape of post industry, explored through artistic research projects taking its point of departure in workshops/residencies in the closed Spode Factory site in Stoke-on-Trent. This site offers multi-faceted scope for creative interpretation through its socio-economic histories, industrial architecture, production and material remnants.</div>
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"This is great news", says Anne Helen Mydland and explains: "For KHiB it is an exploration of the possibilities of the new structure of the Department of Fine Art and the goal of making artistic research the core of what we do and how the institution is built: How do we develop methods for research based teaching and larger inter-institutional and international research projects?" Co-artistic leader is Neil Brownsword, Professor at KHiB, and Buckinghamshire New University.</div>
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The funding is NOK 1.9 million from January 2013 to September 2014.</div>
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<a href="http://www.khib.no/english/news/2013/03/funding-to-artistic-research-project-exploring-post-industry/" target="_blank">read more here</a></div>
</div>
Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-47743341428789002922013-04-08T00:49:00.002-07:002013-04-08T00:49:56.596-07:00Some additions to the reading list.Red Brick, Black Mountain, White Clay; refections on art, family and survival. Christopher Benfry.<br />
<br />
Wedgwood and the Wilsons. A. N. Wilson, article in CRAFTS, December issue 2012.<br />
<br />
Dust, the archive and Cultural History. Carolyn Steedman.<br />
<br />
The Secret Life of Dust, from the Cosmos to the Kitchen Counter, the Big Consequences of little things. Hannah Holmes.<br />
<br />
Our Mutual Friend. Charles Dickens.<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-49192668916089288312013-04-05T08:31:00.000-07:002013-04-05T08:31:01.201-07:00Radio documentary on Northern Soul.<a href="http://www.bbc.co.uk/programmes/b01gk2m8" target="_blank">Northern Soul on bbc radio, 60 mins of Northern joy.</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-73262522579691482922013-04-02T02:16:00.003-07:002013-04-02T02:16:36.004-07:00Some links to other projects/things of interest in Stoke-on-Trent.<a href="http://www.guardian.co.uk/uk/the-northerner/gallery/2013/mar/21/stoke-on-trent-pottery-prince-charles-northerner?INTCMP=SRCH#/?picture=405963843&index=0" target="_blank">Stoke in the guardian</a><br />
<br />
<a href="http://andyp.co.uk/Seconds1.html" target="_blank">Project by Andy Parker</a><br />
<br />
<a href="http://replace-project.blogspot.no/2013/03/topographies-of-obsolete.html" target="_blank">Replace project</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-66980806175410860442013-04-01T03:09:00.000-07:002013-04-01T03:11:37.786-07:00Andrew Brown<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-M-eFWjZv2Oo/UVlXxLDPLpI/AAAAAAAAArM/5YToAMPhesw/s1600/IMG_6228.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-M-eFWjZv2Oo/UVlXxLDPLpI/AAAAAAAAArM/5YToAMPhesw/s320/IMG_6228.JPG" width="213" /></a></div>
<span style="font-family: inherit;"><span style="font-size: small;">For
'Resurrecting the obsolete' in September 2012 my <i>modus operandi</i> was to try to retain an open mind as I
walked around the site, listening, recording, taking photographs and simply
enjoying the experience. I brought my existing interests: </span></span><br />
<span style="font-family: inherit;"></span><br />
<ul style="margin-top: 0cm;" type="disc">
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Post-industrial landscapes</span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Exploring moments in time, being
‘present’</span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Thresholds and spaces betwixt and
between</span></span></li>
</ul>
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<span style="font-family: inherit;"><span style="font-size: small;">and
approaches:</span></span></div>
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<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Retracing steps </span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Design direct embodied experience </span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Solitary vs. collective</span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">Making use of what is there </span></span></li>
<li class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: small;">The particular effectiveness of
sound</span></span></li>
</ul>
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<a href="http://3.bp.blogspot.com/-ltNgQtBZ3JY/UVlZV20MoUI/AAAAAAAAAsE/LrAUoUsWGZQ/s1600/british-jobs.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://3.bp.blogspot.com/-ltNgQtBZ3JY/UVlZV20MoUI/AAAAAAAAAsE/LrAUoUsWGZQ/s320/british-jobs.jpg" width="320" /></a><span style="font-family: inherit;">and found
myself initially drawn to signage, personal effects and inscriptions that gave
insights into the the former Spode workforce. As I explored tentative routes
began to form for a group walk, taking participants from one sonic environment
to another. </span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span lang="NO-BOK" style="color: black;">For
’Topographies of the Obsolete’ </span>March 2013</span> I
returned with recording equipment and the intention of effecting a
temporary repair of the works bell. This I recorded from various parts of the
site.</span></div>
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<a href="http://4.bp.blogspot.com/-keV4Idie8kg/UVlXyIKflzI/AAAAAAAAArQ/nA5wZ_UT8rg/s1600/bell.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-keV4Idie8kg/UVlXyIKflzI/AAAAAAAAArQ/nA5wZ_UT8rg/s320/bell.jpg" width="213" /></a><span style="font-family: inherit;">I’d been put
in contact with local archivist Ray Johnson (from the Staffordshire Film
Archive) with whom I spent a couple of highly productive hours,</span> as well as one of the key members of Airspace gallery, Anna Francis. Meeting her, Glen and Andy provided a cultural dimension that
was previously missing for me.</div>
<span style="font-family: inherit;"></span>
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<span style="font-family: inherit;">The bus tour
of Bradwell woods, Etruria, Gladstone and Burslem was also significant, making
the place more comprehensible as a city. To develop this, and to begin to
address the second strand of my project I performed several walks, to Cobridge,
along the canal towpath to Westport Lake, back to Spode via Burslem and Hanley
Park, to the Garden Festival site, and finally to Harecastle tunnel.</span></div>
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<span style="font-family: inherit;">Overall I am
pleased to have overcome my initial rush of naieve excitement regarding the
site and, through having now worked there a second time and for a longer
period, I feel I am better-placed to produce a mature response.</span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-24581842072531058502013-03-29T06:56:00.000-07:002013-03-29T06:56:18.773-07:00Laura Twigg<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-9V2tnsKtTO0/UVWZpYAPeiI/AAAAAAAAArA/BaVoInqha0g/s1600/_DSF5499.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://4.bp.blogspot.com/-9V2tnsKtTO0/UVWZpYAPeiI/AAAAAAAAArA/BaVoInqha0g/s640/_DSF5499.jpg" width="424" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 11pt; line-height: 150%;">Working
with my enjoyment of materials my work draws from the interaction between the
readymade and the handmade. </span><span lang="EN-US" style="font-size: 11pt; line-height: 150%;">Collecting found
materials within the space is a communication of the relationship between
material and form. By contrasting these I am exploring the context of objects
in relation to the histories of the material. I am inspired by the materiality
of objects, their nature of form and how we adapt these into our environments.
I am interested in the tension between natural and fabricated form and
sculpturally how this creates a sense of spatial awareness. Informed by a sense
of labour and craft, ceramic form communicates a concern of craft and mass
production. Raw clay communicates malleability, allowing me to directly react
with the material in a space in an instinctive way. Completing a residency at
Spode in my hometown of Stoke-on-Trent has identified an exchange of cultural
materiality between students from The University of Nottingham Trent, Muthesius
Kunsthochschule, Bergen Academy of Art & Design, The Royal Academy of Art
Copenhagen, Newcastle-upon-Tyne University and Sheffield Hallam University.
Identifying these new relationships has broadened my conceptual understanding
of ceramics and sculpture. Working with ceramicists and technicians has allowed
me to access ideas and combine a social awareness with writings such as
‘Failure’ by Lisa Le Feuvre and ‘The Dematerialisation of the art object’ by
Lucy Lippard.</span></span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-56971779639514332542013-03-28T12:42:00.003-07:002013-03-28T12:42:47.158-07:00In Memory of Holocene<br />
<br />
Reactive dyes in Stoke on Trent<br />
<br />
March 2013<br />
<br />
Margrethe Kolstad Brekke<br />
<br />
<a href="http://www.youtube.com/watch?v=m4pr8EmqGtg" target="_blank">http://www.youtube.com/watch?v=m4pr8EmqGtg</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-46554357603438899172013-03-28T12:07:00.002-07:002013-03-28T12:07:28.885-07:00entering anthropocene scetchwork<br />
<br />
sitespecific workshop initiated by Lisa Stenbro<br />
<br />
Yas Island UAE, February 2013<br />
<br />
Margrethe Kolstad Brekke<br />
<br />
<a href="http://www.youtube.com/watch?v=BZbb75X90Zw&feature=share" target="_blank">http://www.youtube.com/watch?v=BZbb75X90Zw&feature=share</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-43303180888398753282013-03-28T07:23:00.000-07:002013-03-28T12:05:12.972-07:00In Memory of Pleistocene<br />
<br />
Reactive dyes in Stoke on Trent, September 2012<br />
<br />
Margrethe Kolstad Brekke<br />
<br />
<a href="http://www.youtube.com/watch?v=q1pBgBFfo_w&feature=share" target="_blank">http://www.youtube.com/watch?v=q1pBgBFfo_w&feature=share</a>Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-35616422532326555082013-03-10T15:06:00.002-07:002013-03-21T07:12:51.710-07:00Site specific work in progress in an abandoned paint factory<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">We decided upon an abandoned place in an ruinous state where we could work uninterrupted, to try out methods, concepts and materials in a direct response to a site. It was intense work for two weeks, in the cold and limited daylight of february. We made an opportunity for others to come over to see our works in progress and have a discussion about out them. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">It was a chance to get into working mode before the second part of the Stoke Project.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Karin</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">I wanted to
use the time in this space to develop strategies of site specific works. It is
a very different experience to work out side with much harder physical
conditions than inside in the studio. If you just can keep
warm for two hours and if the clay freezes over after half an hour that of cause
affects the work and you have to find ways to work around it. I used materials on site to be part of my interventions which also pushed
and shaped the work in more than just the obvious, physical way.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Erna</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Ruins are an ongoing process, nothing is today as it was yesterday, and it won´t be the same tomorrow. It is a natural process where nature or man keep layering on top of each other, dust, leaves, trash, spray paint etc. I attempted to highlight that gradual transition by either adding to or taking away from a structure, to build up or clean away the layers, to dramatize the dreamlike nature of the change. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">There were three attempts:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">In an Paint Factory, using paint as a material has many implications, in the life of this building the focus has shifted from being a producer of paint to being a recipient of it in the form of spray paint. It is a natural growth, gradual growth, as is the accumulation of leaves, plants and trash.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">In a ruinous place there are many layers to be found, dust and broken glass cover the floors. The glass shards were cleaned and now shine when the light hits the dusty floor.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Porcelain was laid out on the floor, it picked up, natural pigments, left from another artist, it froze in the frost and a new form of porcelain roses was formed. A porcelain, frostrose desert.</span></div>
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Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0tag:blogger.com,1999:blog-1362622699339329891.post-20508374332669571452013-03-07T08:27:00.000-08:002013-03-07T08:27:13.850-08:00Danica Maier<!--[if gte mso 9]><xml>
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<span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">The
previous workshop in September, <i>Spode I:
'Resurrecting the Obsolete'</i>, was a fruitful and productive time, which unexpectedly
facilitated a major shift in my practice. </span><span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">Recently my work has followed drawing and the domestic
object with a particular interest in stitch, (text)iles, and the decorative;
using <i>subtle slippages</i> and moments of
detail to <i>transgress propriety</i>. The
objects relationship to drawing has increasingly become more pronounced until
the object has now taken over and has become the work; which was one of the
unexpected outcomes from the first Spode residency. Using understated visual
cues image and object(s) appearing as veiled details and suggestive moments;
the viewer is required to spend time with the work to encounter these moments
of hidden depth. Once seen these subtle transgressions can compel the viewer to
think twice about the expected norm they see around them everyday. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Having
taken part in the first research residency has given me first hand experience
and ideas for developing a larger artistic research project. It helped to developed
particular research methods, critical reflection, research strategies and ideas
for the production of artefacts for this longer project expanding beyond just
the residency. Since returning
from <i>Spode I</i>, I have been working on
ideas and possibilities through drawings and the small artefacts I was able to
bring back to my studio.</span><span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">During
this upcoming longer, (I could only attend for 3 days in Sept) and more
directed residency I will focus on expanding the initial research and
experiments. </span><span lang="EN-US" style="font-family: Optima; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 10.0pt;">Exploring dualities of
material and site I am interested in</span><span lang="EN-US" style="font-family: Optima; font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-font-size: 14.0pt; mso-fareast-language: JA;"> using site-specific installation to explore ideas of
expectations of: site, traditional values, and (women’s) labour. I am
interested in manipulating the material and locations expected function and push
beyond the original intentions and readings. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Optima; font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-font-size: 14.0pt; mso-fareast-language: JA;">Using the site as a
starting point, materials and the event of making (with a nod towards
Penelopian labour) all work towards a collapse; of historical time through
nostalgia for a past that never existed; contradictions of the everyday; and
subtle interventions in unexpected locations. </span><span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">I plan
to concentrate on the abandoned ceramic decals, ceramic’s pieces and their
negatives (the mould) to create sculptures and large-scale installations. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Optima; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-bidi-font-size: 12.0pt;">Developing
from works assembled during the first residency, I will be working on larger
and more complex installation as well as discreet sculptures. These works will
incorporate stacks and laid out (created) patterns of 100’s (to 1000’s) of
decals as well as incorporating redundant ceramics and moulds from the site. I
will also be experimenting with (text)-drawings, using the ceramic decorative
patterns from Spode as starting points to create small works, akin to
embroidery, that will be hidden amongst {or hidden in plan sight} the decals. <o:p></o:p></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">Spode I</span><span style="font-family: Optima;">:
Research / experiments 2012</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">English Pointer encased by Coffee Saucer</span><span style="font-family: Optima;"><i>
</i>2012</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">Pink Acorn</span><span style="font-family: Optima;">
2012</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">Black Lab with Ogee Wave</span><span style="font-family: Optima;">
2012</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">Lausanne Pheasant</span><span style="font-family: Optima;">
2012</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Optima; font-style: italic;">Cottontail Sauce Boat</span><span style="font-family: Optima;">
2012</span></span></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/16314380838811594525noreply@blogger.com0