Nina and myself will be on the panel for this talk, which discusses student shows from the perspective of teachers, industry and galleries, as well as regarding student shows as a typology that can be compared and furthered. Adding your own voice to this discussion might appeal to students and teachers, or be particularly relevant to the summer schools and to recent exhibitions.
Following on from their last event, ‘Crowd Talks: Intern Or…’ at the Book Club, Crowd continues to create a space for design discussion between a panel and an audience, instead of a traditional speaker-led event.
This time round Crowd will be discussing the relevance of degree shows, in collaboration with Brighton University third years - Car Park Show. We will explore why students are continuing to show their work in galleries, despite the prolific rise of blogs and online exhibition spaces.
We will also talk about the purpose of degree shows, both for the students themselves and for those in industry. Does the increase of incorporated workshops and events highlight student ownership or signal towards the work on the wall no longer being enough?
We’ve got some amazing speakers lined up for this event, including Lawrence Zeegan, Irene Fuga, Gem Barton, Hugh McEwen, Sarah Clark, Roderick Mills, Kraggy and Nina Shen-Poblete. Follow us at @crowdtalks to find out more. This event will be a free one, we look forward to seeing you there!
6-8pm Sunday 7th July 73-77, Britannia Road, Fulham, London, SW6 2JR
EUROPA Stage by Ada Projects in collaboration with Adam Donen
“A stage defines action. Actors define nothing - they just perform.” - Berthold Brecht
Europa is a musical and dramatic work seen through the prism of Brecht’s idea that a stage defines action more than the actors who perform upon it. We wanted to fuse architecture with music and performance and create a dramatic piece with the STAGE as the lead actor. EUROPA started with a bare skeleton of a stage and an orchestra and choir in the middle of the square. While the music played, slowly stagehands and actors brought objects, pieces of park furniture and games towards the centre. Some of the pieces were pushed, some were worn as costumes and some were played as musical instruments. The pieces became a composite stage, which grew to 6 times its original size. These elements then began to ‘perform’ as part of the opera.
Ada, formerly Group 41, are running a series of two week schools in London, Warsaw & Poncé-sur-le-Loir this summer.
CAN will be tutoring at London II and are in the process of recruiting enthusiastic and exciting students for:
This two week course, based in central London, will combine the fields of performance art and architecture, using techniques from both to guide participants in how the internet can be used as a tool to generate anything from a 2d image to a full performance piece.
During the first week students will be taught how to take a 2-dimensional image and distort/glitch and extrapolate it in such a way as to generate the unexpected. Various form generating techniques will be used to guide the students, teaching them how to explore ideas quickly. Each day a new performance piece will be produced from an idea with everyone working together to document, present and discuss their unique piece. Students will be introduced to the work of various performance artists alongside the piece generation techniques.
The internet will be used as the departure point for this exploration and we will encourage students to see this vast resource not just as a research tool but as a starting point for creativity.
During the second week, the pieces produced in the first week will be brought together, and as a group, the students will develop, design and build a larger piece which will be shown in a final performance on the last day of the school. The students will learn the tools of collaborative working, set design and building as well as developing their performance work from the previous week.
Throughout the course, everyone will act as artist and teacher, finding new ways to talk about the work and their contribution. This course will include visits to key venues such as ‘The Live Art Agency’ and other London exhibition venues.
We’re five architectural designers, members of a newly formed collaborative group called Ada, working with a composer Adam Donen, and we’ve been given a major square in the middle of London for a day. We are going to fuse architecture with music and performance, and create the first ever dramatic piece with a stage as the lead actor.
The Bloomsbury Fete will be filled with pieces of interactive architecture - there will be see-saws, slides and tables all of which will be used by around 3000 people that will be drawn to the festival. They will all be beautiful and functional, but also built very cunningly so that at lunchtime they can take part in the main performance of Europa. These apparently separate pieces will ‘subsume’ Europa as it happens.
Hugh McEwen, Catrina Stewart, Freddy Tuppen,Kevin Greenand Omar Ghazalare founding members of Ada, a Bloomsbury-based collective of professional artists and architectural designers who work together to create spectacles of forward-looking architecture. Ada believe that by combining individuals who are the best in their field from different disciplines, the most aesthetic and intellectually stimulating results can be achieved. Since early 2012 the collective has been working closely with local organisations to produce interactive architectural pieces.
Tim Phillips has an investigative practice ranging from the sculptural to the digital. Ethereal symbols of belief, authority and worship are woven into objects layered in precious veneers, plastics and other synthetics. It is these technologies that the artist uses to investigate the strange democracy afforded to us by the machine. ‘We can telescope time and space, hop between the holy and the occult, fuse craft and corporation, the precious to the throwaway, all in the click of a mouse button.’
This gives the work a sense of mythology, one that it does not deserve, because of the vacuous geometry that constitutes its parts. But through the process of cutting, veneering and inlay, we cannot help but buy into the idea of nothing. As such, the work sits in a limbo state between religious fakery and authenticity.