Tag Archives: Peltz Gallery

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The Essay Film Festival – starting Friday 22 March

The Essay Film Festival is back… starting on Friday 22 March with the opening of our first ever exhibition in the Peltz Gallery, Art at the Frontier of Film Theory: the Work of Laura Mulvey and Peter Wollen, with extra screenings, workshops and conversations… please spread the word!

 

Now in its fifth edition, the annual Essay Film Festival, is a collaboration between Birkbeck Institute for the Moving Image and the Institute of Contemporary Arts, celebrating the diversity and creativity of those artists and visionaries who work in that unique zone between documentary and experimental modes of filmmaking.

 

This year’s programme features a range of bold and innovative works that cross terrain from Argentina to Hong Kong, Iran to Mexico, USA to Lebanon, Nigeria to UK, embracing themes as varied as cancer, childbirth, the Faust legend, urban decay, workers’ strikes, psychoanalysis, colonialism, natural history, and Finnegans Wake!

 

These films will challenge your perception of the world, your understanding of reality and your place within it; they will move you, surprise you, and inspire you.

 

How does film connect intimate personal choices to political commitment; the archived or forgotten past to the socially active present; the beauty of cinema to terror, injustice and despair? How does film engage with the real while questioning the established forms of film language? And how can film touch us, emotionally and viscerally, and yet maintain that vital reflective edge?

 

Directors Mania Akbari & Douglas White, Andrea Bussmann, Dora García, Christopher Harris, Mary Jirmanus Saba, Bo Wang & Pan Lu, Onyeka Igwe and Jessica Sarah Rinland, all utilise the essay film in different ways to explore these searching questions in this year’s Essay Film Festival.

 

The full programme for EFF 2019 can be found here.

 

Come and join us!

 

Michael Temple, Matthew Barrington, Kieron Corless, Catherine Grant, Janet McCabe, Ricardo Matos Cabo, Raquel Morais, and Laura Mulvey, on behalf of the Essay Film Festival

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Holograms in the Museum – Friday 1 March 2019

Holograms in the museum

Date: Friday 1 March 2019

Time: 6.30-8pm

Venue: Keynes Library, School of Arts Birkbeck, 43 Gordon Square, London, WC1H 0PD

This event explores the increasing role of holographic technology in the arts and cultural sector.

Today the term “hologram” is often used to describe a wide variety of three-dimensional and virtual imagery, generated by technologies ranging from Pepper’s ghosts to augmented reality. Museums and galleries are increasingly using these technologies as a means to reanimate the past, create interactive visitor experiences and offer access to absent or fragile artefacts.

Beyond the initial excitement of these dazzling holographic spectacles, this event creates an opportunity to consider the aesthetic, ethical and technical questions raised by these practices. Why are holograms so popular as a means to reanimate history and culture? How do they alter existing practices of memory and memorialisation? What are our responsibilities when using holograms to reanimate people? How do holograms affect our temporal relationships with people, objects and artefacts? Why has holography become a metaphor for so many types of virtual experience?

This interdisciplinary discussion brings together animators, designers and media and cultural studies scholars to consider the changing significance of holograms in artistic and cultural practice.

The event will feature brief presentations by Chris Walker, and Nick Lambert, Jazz Rasool and Mike Smith, followed by a panel discussion chaired by Dr Silke Arnold-de Simine, Reader in Memory, Media and Cultural Studies at Birkbeck College.

If you have any additional access requirements please get in touch elizabeth.johnson@bbk.ac.uk

The discussion is free to attend but booking is encouraged.

Please book your ticket here. All welcome!

This event coincides with the exhibition Leonardo da Vinci and Perpetual Motion: Visualising Impossible Machines, which is taking place in the Peltz Gallery from 6 February to 12 March 2019.

Prior to the discussion, there will also be an opportunity to experience the Holo Lens animation of da Vinci’s designs in the Peltz Gallery from 5pm.

Speakers’ bios

Dr Nick Lambert is Director of Research at Ravensbourne University London. He studies art and technology, and the position of the digital medium in contemporary art and visual culture. Through this, he engages with questions about the boundary between “fine” and “applied” arts, design and interfaces. Lambert has written on the history of computer art and cutates exhibitions with artists and theorists in this field. He has also developed interests in the evolution of immersive visual technologies, especially full dome; and exhibited his immersive artworks in New York, London and elsewhere.

Jazz Rasool has a background in Science, Computing and Teaching. He is currently a Researcher at Ravensbourne University London (RUL) specialising in Technology Enhanced Education. His most recent work contributed to a €3m EU funded project creating Holographic (Hololens) workplace training for Air Ambulance crew in the Arctic as well as Astronaut trainers in Italy working with International Space Station and Mars missions. In 2018 he won a €30,000 first prize from Farfetch, the world’s 4th largest online fashion retailer, for Disruptive Innovation in Fashion, competing against 50 other companies globally, with his winning idea presenting technology for Holographic projection of fashion on people. Preparing for the 500th anniversary of Leonardo Da Vinci’s Death in 2019 and collaborating with colleagues at RUL, Jazz was the first to create and see a holographic animated rendition of Da Vinci’s designs for Perpetual Motion machines, with the work on show at the Peltz Gallery, London and at the home of Da Vinci’s designs in the Museo Galileo in Florence, Italy.

Mike Smith is a creative content provider, animator, educator and visual storyteller, specializing in heritage, theatre and public installations. His expertise, as an animator and visual effects artist, allow him to provide these sectors with the standard of visualization and storytelling expected in the film and entertainment industries.

Chris Walker is the Managing Director of Bright White; a creative design consultancy based in York, England. Bright White formed in 2004. Their mission is to engage the next generation with the riches of the past and present, to help them live and learn. Bright White believe in learning by doing; giving the audience real agency to explore a subject, sparking their interest, creating memorable moments and, in the process, learning without labour.

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Exhibition Event: ‘El Encanto’ Artist’s Talk, Freddy Dewe Mathews – 3 May 2017

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Exhibition Event: Artist’s Talk, Freddy Dewe Mathews

Wednesday 3 May, Peltz Gallery, 7-8pm

Join artist Freddy Dewe Mathews in conversation with curator Robert Leckie as they discuss the issues of landscape, progress, international trade and local mythology that are raised by Dewe Mathews’ Peltz Gallery exhibition ‘El Encanto’.

‘El Encanto’ considers the history of the rubber industry in the Putumayo, a large area of the Colombian Amazon once heavily exploited for this naturally occurring resource. Developed from various trips made by the artist to remote and historically important sites, the show looks at how, at the nucleus of a spiraling and often paradoxical history, the essentially harmonious process of tapping – an interaction between a tapper and a rubber tree – has come to echo the central allegory attached to it, that of bleeding. The exhibition in the Peltz Gallery extends ideas that Dewe Mathews began to explore during his 2013 Gasworks International Fellowship, where he undertook a residency at independent artist-led gallery Kiosko Galeria, Santa Cruz, Bolivia.

Freddy Dewe Mathews (b.1985) is a visual artist based in London.  His multi-disciplinary practice considers the shifting influence of history on the environments and places we live in. Exploring chosen sites and guided by archival and research material, his projects have taken in broad subjects, ranging from the legacy of the rubber industry in the Colombian Amazon, to the cult of the ill in the Swiss Alps. He has exhibited internationally and taken part in a number of residencies in Europe and Latin America, including spending 2016 as Artist-in-Residence at Flora Ars+Natura and receiving the Gasworks International Fellowship in 2013. The same year he published his first book, Bouvetøya: A Cultural History of an Isolated Landmass.

Robert Leckie has been Curator at Gasworks in London since 2011, where he runs the exhibitions and residencies programmes. At Gasworks he has commissioned and curated solo exhibitions by a broad range of international artists including Pio Abad, Eric Baudelaire, Sidsel Meineche Hansen, Adelita Husni-Bey, Maryam Jafri, Candice Lin, Lana Lin, Naufus Ramírez-Figueroa, Beatriz Santiago Muñoz and Kemang Wa Lehulere. He has also curated and produced several group and collaborative exhibitions including ‘All I Can See is the Management’ (2011); ‘RESOLUTION 978 HD’ (2013) by the Model Court collective (artists and researchers Lawrence Abu Hamdan, Sidsel Meineche Hansen, Lorenzo Pezzani and Oliver Rees); ‘Late Barbarians’ (2014); ‘Dependency’ (2014); and, together with Miguel A. Lopez, ‘A Kingdom of Hours’ (2016/17), which was presented across Gasworks and TEOR/éTica in San José. He has written for Afterall and Benedictions, among other publications, and is currently co-editing a book on Sidsel Meineche Hansen’s recent practice, alongside working on the following new commissions: a collaborative exhibition by Filipa César and Louis Henderson and solo shows by Monira Al Qadiri, Zach Blas and Rachal Bradley.

‘El Encanto’ is on at the Peltz Gallery, School of Arts, Birkbeck College 6 April – 4 May 2017.

All welcome

To book your FREE ticket go to https://www.eventbrite.co.uk/e/artists-talk-freddy-dewe-mathews-tickets-32693292518

If you have any additional access requirements please get in touch elizabeth.johnson@bbk.ac.uk

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Exhibition El Encanto, Freddy Dewe Mathews, Peltz Gallery, Birkbeck, 6 April – 4 May

You are warmly invited to the exhibition at the Peltz Gallery, Birkbeck School of Arts, 43 Gordon Square, London WC1H0PD

6 April – 4 May 2017: El Encanto

Our modern world owes a lot to a product native to Amazonia: natural rubber. As well as its contribution to the automobile and aviation industries in the form of the tyre, natural rubber is employed in a range of other products: from hoses and industrial conveyor belts to gloves, syringes, telegraph cables and condoms. A history of forced labour and brutality, however, lurks behind rubber production.

In his project El Encanto, London-based artist Freddy Dewe Mathews documents traces of the rubber industry that linger still in the Putumayo region in Colombia. His art works explore this history, bringing together the Third and First Worlds, tradition and modernity, past and present. The project comprises 16mm film, sculptures, engravings, drawings, photographs, and installations. Some works in this exhibition use latex to connect the forest directly with the city, the past with the present; other works employ used and discarded tyres that evoke their cultural and historical transformation.

This is a collaboration between the artist Freddy Dewe Mathews and Dr Luciana Martins, with the support of the Centre for Iberian and Latin American Visual Studies (CILAVS)

Programme of events

6 April 2017, 6pm, Birkbeck Cinema. ‘Landscapes of Abandonment’ roundtable ‘Landscapes of Abandonment’ considers the histories of the Putumayo region in Colombia and the challenges of a critical artistic practice that interrogates the legacies of exploitative activities on abandoned places. After an introduction by Luciana Martins (Birkbeck), there will be short presentations by Jordan Goodman (UCL), Leslie Wylie (Leicester), and Xavier Ribas (Brighton) followed by a Q&A session and a wine reception.

7 April 2017, 6-9pm – Exhibition opening and reception at the Peltz Gallery.

8 April 2017, 2.30-5pm, Birkbeck Cinema – Screening of No Paiz das Amazonas (In the Land of the Amazons, Silvino Santos, 1922, 129’) This is a unique opportunity to see pioneering moving images of Amazonia in the early twentieth century. Using footage made on his travels of more than 10,000 kilometres throughout Amazonia, Silvino Santos produced a view of the region as a modern, productive place, ready for future investment.

3 May 2017, 7-8pm Peltz Gallery – Artist in Conversation Join artist Freddy Dewe Mathews in conversation with curator Robert Leckie as they discuss the issues of landscape, progress, international trade and local mythology that are raised by Mathews’ Peltz Gallery exhibition ‘El Encanto’

Supported using public funding by Arts Council England

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Photographing the rituals of healing and dying in Latin America – Wed 22 March 2017

Peltz Gallery talk: Photographing the rituals of healing and dying in Latin America – Wed 22 March 2017

Photographing the rituals of healing and dying in Latin America

Wed 22 March 2017, 19:00-20:00

Peltz Gallery, 43 Gordon Square, London WC1H 0PD

To accompany the exhibition ‘Decolonizing “witchcraft”: Portraits of traditional healing in Bolivia’ at the Peltz Gallery, ‘Photographing the rituals of healing and dying in Latin America’ considers some of the visual and ethical challenges of documentary photography. Join Patrizia di Bello, Senior Lecturer in History and Theory of Photography at Birkbeck College, and photographers David Green and Marcel Reyes-Cortez, as they explore the themes of ritual, community and cultural memory raised by the exhibition. The evening will reflect on Green’s experience working with communities of indigenous health practitioners in Bolivia and Reyes-Cortez’s work documenting the cultural practices of death and mourning in Mexico.

Dr Patrizia di Bello is Senior Lecturer in the History of Photography and co-director of the History and Theory of Photography Research Centre in the Department of History of Art at Birkbeck, University of London. She is the author of Women’s Albums and Photography in Victorian Britain: Ladies, Mothers and Flirts (Ashgate 2007); editor of Art, History and the Senses: 1830 to the present (Ashgate 2009), with Gabriel Koureas; and of The Photobook from Talbot to Ruscha (IB Tauris, 2012), with Colette Wilson and Shamoon Zamir. Her next monograph, Sculptural Photographs from the Calotype to the Digital, will be published by Bloomsbury in December 2017.

David Green is a born people watcher. ‘The challenge of relaxing a subject and capturing their essence is endlessly compelling to me and keeps me passionate about portrait photography.’ An American, who’s made his home in North London, David has been working as a freelance photographer for several years, shooting a wide range of people, from Noble Prize winners to comedians, authors, actors, CEOs, TV news readers, and most recently “witches” in Bolivia and robot camel jockeys in Oman. His work has appeared in Timeout London, the Guardian, Hackney and Islington Gazettes, Artenol magazine in New York, The Times of Oman, the Southbank Centre, Barcelona Metropolitan to name a few – even the FBI website (that’s the Feminist Bureau of Investigation, of course): http://www.feministbureauofinvestigation.co.uk

Marcel Reyes-Cortez is a Visual Anthropologist and photographer living and working in London. In 1993 he graduated with a BA (Hons) in photography from the London College of Printing and in 1995 he gained an MA in Social Anthropology from the School of Oriental and African Studies, University of London. Marcel returned to academia and in 2006 he gained an MRes in Visual Anthropology. His doctoral research (2007-10) became the first to be awarded a PhD from Goldsmiths, University of London in ‘Visual Anthropology’.

‘Decolonising “witchcraft”: Portraits of traditional healers in Bolivia’ is on at the Peltz Gallery, School of Arts, Birkbeck College 3-25 March 2017.

All welcome

To book your FREE ticket go to

https://www.eventbrite.co.uk/e/photographing-the-rituals-of-healing-and-dying-in-latin-america-tickets-31962861780

If you have any additional access requirements please get in touch elizabeth.johnson@bbk.ac.uk

 

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Internship at the Peltz Gallery – Deadline: 23 March

Internship at the Peltz Gallery

We are looking for an intern to work with the Peltz Gallery (School of Arts) between April and July 2017.

The Peltz Gallery, based in the School of Arts, is a flexible exhibition space for digital and material displays, small-scale performances, lectures and meetings. The Gallery showcases the creative interdisciplinary and experimental research in the School. Over the three years since it opened, the Peltz has hosted a series of innovative historical and contemporary exhibitions based on the research interests and public engagement activities of academics and other staff at Birkbeck.

We are looking for an intern to work with the Peltz Gallery director, events and communications co-coordinator and Arts Space Steering Committee to help with and evaluate two exhibitions in the Peltz Gallery programme.  The successful candidate will gather and analyse data from social media and the internet, visitor book comments and questionnaires from dedicated events and develop an analysis of the exhibitions’ (and associated events’) success in reaching and engaging various audiences.

Knowledge and experience required:

We are looking for a Birkbeck PhD student ideally with

  • The ability to write well
  • Some experience in evaluating activities
  • An interest in the visual arts
  • Some experience of working on exhibitions
  • Familiarity with social media

and

  • A willingness to bring their professional experience and knowledge to explore ways of developing the Peltz Gallery’s profile in London

The internship involves 25 hours of paid employment at £15.26 per hour between c.  April 20 and c. July 15 2017. The hours worked will be agreed in advance (spread across one or two terms) on a flexible basis with the Peltz director.

Send application (CV and covering letter) by 5pm, March 23 to Wendy Earle: w.earle@bbk.ac.uk.

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Get involved with the Peltz Gallery: Opportunities for Students

Get involved with the Peltz Gallery: Opportunities for Students

Tejas Verdes - I was not there

Peltz Gallery presents from June 3rd until July 15th Tejas Verdes: I was not there, a collaborative project between sociologist Margarita Palacios and visual artist Livia Marin.

Bringing together Palacios’ research on violence and Marin’s work around loss and care, the project consists of visiting several ex-detention and extermination sites in Chile and the performing of an aesthetic intervention in each of them.

The result of the intervention is the production of a series of abstract realist objects that register traces of the material remains of these sites, marking the materiality of the violent event in its multiple layers of meaning and yet registering its unreadability.

This aesthetic intervention explores the possibilities of representing violence without reproducing it and the challenges of non-colonizing experiences of witnessing. The exhibition includes as well a photo projection that shows numerous images of both sites and objects aiming to document the places and the experience of collaboration.

Birkbeck students are invited to participate in one or both of the following opportunities.

  1. Text based around the theme of the exhibition: The exhibition team would like to open an in-depth discussion of ‘Tejas Verdes: I was not there’ and invite students to send us written pieces that reflect the particular views on the theme of the exhibition.

The articles will be published on Birkbeck Events blog and the Peltz Gallery’s website. Email pcleme03@mail.bbk.ac.uk with the subject ‘Article Tejas Verdes’ and a written piece of c.1,000 words by 15 July.

  1. Exhibition reviews: Students are invited to visit the exhibition and submit their reviews. Please send your reviews (c.500 words) to pcleme03@mail.bbk.ac.uk with the subject ‘Reviews Tejas Verdes’ by 27 June. The reviews will be published on Birkbeck Events blog and the Peltz Gallery website. The articles and reviews will also be used to support the collaborative research project between Margarita Palacios and Livia Marin.

Find out more:

 

Opening hours
Monday-Friday: 10am-8pm
Saturday: 10am – 5pm (Unless otherwise stated)

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Private View: RELAPSE Collective @ The Peltz Gallery 28th April

The Peltz Gallery has the pleasure of inviting you to the private view of our next exhibition.

Artist-run contemporary collective and platform for creative multidisciplinary exchange

28th April, 6-9pm.

1st Edition – Identity

Artists: Vasiliki Antonopoulou, Nikolas Kasinos, Dimitrios Michailidis, Penelope Koliopoulou

Curated by Dr. Gabriel Koureas, Birkbeck, University of London & Relapse

Peltz Gallery, 43 Gordon Square, London WC1H 0PD
Opening Reception: Thursday 28 April, 6 – 9pm


Artists Talk and Q&A with artist Maria Sideri: ‘Identity and Possesion’ 6-7pm
Free but booking essential – http://relapse1.eventbrite.co.uk/
RELAPSE collective is pleased to present its first exhibition, with guest artist Penelope Koliopoullou, under the auspices of the Minister of Education and Culture of Cyprus, Dr. Costas Kadis. The exhibition focuses on the concept of identity as constructed and performed through social rituals and its embodied visceral manifestations. We invite the public and artists to take a step back from themselves, and join us in a ritual of self-observation in order to open the work to collective authorship negotiated between performer and viewer thus reclaiming the constructs of our own identity. Created by artists Vasiliki Antonopoulou, Nikolas Kasinos and Dimitrios Michailidis, RELAPSE is an online community for artists working in various media. Beginning as an observation of affinities between their work, the artists came together to plan a group exhibition. The process led to the creation of RELAPSE. Placed within virtual space, RELAPSE is an explorer aiming to give artists from different disciplines and geographic locations, the opportunity to come together and produce collaborative work; an attempt to dissolve the limitations distance and boundaries impose upon collaborative artistic production.

Publication: Available at reception

Facebook Event
Press Release:  http://www.bbk.ac.uk/arts/research/peltz-gallery

Opening hours
Monday-Friday: 10am-9pm
Saturday: 10am – 5pm (Unless otherwise stated)

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Conventions of Proximity in Art, Theatre and Performance. 5 & 6 May 2016

Thursday 5 May 1-6pm & Friday 6 May, 10am-6pm
School of Arts, Birkbeck College, 43 Gordon Square, London WC1H 0PD
Booking: http://bit.ly/1YiQzYJ

Immersive and curatorial strategies are highly current in contemporary theatre, visual art and exhibition culture – bringing audiences into close and often interactive relationships with artistic work. But how else do art, theatre and performance engage ideas of proximity, and how have they done so in the past?

 

Conventions of Proximity in Art, Theatre and Performance investigates forms of nearness and distance from numerous perspectives: dramaturgical, curatorial, affective, social, conceptual, virtual, geographical. Over a day and a half, artists and writers will share their work on proximity as an idea and as a practice. From the early modern to the contemporary, in examples drawn from southeast Asia to the global north, the symposium explores proximity in relation to a diverse range of topics, including digital networks, architectural design, home, public space, cinema, loneliness, friendship, listening, darkness, museum display, and music.

Conventions of Proximity combines papers, workshops from guest artists in the School of Arts’ studio space, film screenings in Birkbeck Cinema, performance installation, and an exhibition of contemporary art in the Peltz Gallery.

On Thursday 5 May, researchers and practitioners will share their work in parallel panel presentations, from which attenders can make a selection.

On Friday 6 May, film screenings, panel presentations, workshops and a performance installation will run in parallel, from which attenders can make a selection.

Contributors include:
Silke Arnold-de Simine (Birkbeck, University of London)
Maaike Bleeker (University of Utrecht)
Fiona Candlin (Birkbeck, University of London)
Fourthland
Sheila Ghelani
Alison Green (Central Saint Martins)
Peader Kirk & Teoma Jackson Naccarato
Nicholas Ridout (Queen Mary, University of London)
Victoria Walsh (Royal College of Art)

Conventions of Proximity takes place on Thursday 5 May, 1-6pm and Friday 6 May, 10am-6pm. It is free of charge to attend but places are very limited, and booking is essential. The schedule can be seen here.

Booking: http://bit.ly/1YiQzYJ

Co-hosted by Birkbeck Centre for Contemporary Theatre and Birkbeck Interdisciplinary Research in Media and Culture, and supported by Birkbeck Institute for the Humanities and Birkbeck Institute for the Moving Image.

Birkbeck Centre for Contemporary Theatre

http://www.bbk.ac.uk/english/our-research/bcct/events

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Artists call out: RELAPSE Collective exhibition at the Peltz Gallery Birkbeck

RELAPSE Collective will be hosting its first exhibition at the Peltz Gallery at Birkbeck School of Arts around the theme of identity on April 28th until May 19th. Artists are invited to submit their work. Please see bellow for guidelines.

Artists for RELAPSE Collective

Artists who wish to be part of RELAPSE Collective, can submit work for consideration at submissions@relapse-collective.com with the subject “submission”.

Please include:

– Your work (2 pieces max): images, sound, photography, video, text

– Brief description/statement: 350 words max, medium and year

– Biography: 150 words max, include country of residence

– Website

For video and sound pieces provide links only. All required information should be sent in the following format: ArtistName_Title.jpg/doc

New artists are added to the collective every four months.

The subjects explored at the annual exhibitions develop from the work submitted on the website and for that reason there are no restrictions on submission subjects/themes. Works published online are subject to a second selection process where artists are chosen for the annual exhibitions or accompanying publication depending on the subject, consequently forming the new ‘theme’. For this reason submissions remain open.

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