FOMO – Introducing Falmouth’s first Art Publishing Fair

F O M O – the first ever Falmouth Art Publishing Fair – opens at 4pm on Friday 29 September for a weekend of talks, workshops, screenings, artists’ book works, performances, zines and comics and readings.   

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Organised by Falmouth School of Art’s Senior Lecturers Neil Chapman, Gillian Wylde and Carolyn Shapiro and Associate Lecturer Maria Christoforidou, F O M O will take place at Falmouth Art Gallery and the Library of the Municipal Buildings, The Moor, Falmouth, and brings together Falmouth School of Art staff and students with local participating institutions including: Falmouth Art Gallery, Falmouth Library, Tate St Ives, Stranger Collective, Urbanomic, Atlantic Press, Burning House Books, BLNT Collective, Keiken and Krowji. 

F O M O will include contributions from academic and research colleagues from: Royal  Holloway University, Cambridge University, West Dean College, Aarhus University, Plymouth University, Goldsmiths University of London, Research Center for Material Culture Netherlands and from across Departments at Falmouth University.

Generously supported by Falmouth Art Gallery, the event has grown out of discussion between colleagues across different departments at Falmouth University. From meetings as a Research Forum, finding common ground between their varied interests, the group started to consider joint research and how best to team up for that work. One of the organisers, Neil Chapman, reflects on the development of the event, and what we can look forward to over the weekend…

‘As a research group, we share a commitment to collective work. That’s both a pragmatic interest and a critical position too. Most often, when people work together it’s so that a workload can be shared. But collective work is unpredictable and inefficient too and these are values that might tend to be lost in the current climate. There is a lot of emphasis in the contemporary workplace on individuals’ success and the competition that results can be destructive. Our title for the event – Fear of Missing Out – is on some level an ironic allusion to these issues.

We are all of us, in different ways, committed to discursive work, to the climate of ideas that surrounds ‘making’ in our different disciplines. And that’s a foundation for the publication fair too, reflected in the many talks, screenings, readings and performances scheduled over the weekend. F O M O provides an opportunity for us to invite our colleagues and friends to Cornwall. It’s good for the cultures of creative practice here in Falmouth. F O M O will bring lots of people into contact who might not have met otherwise. We’re excited to imagine the new partnerships and the new work that might result.

The aim has been to inaugurate the kind of event that we would want to go to ourselves, also the kind of event that students would be excited about. Henrietta Boex, Director of Falmouth Art Gallery, has been extremely supportive. We’ve made all kinds of demands on her and she seems never to say no to anything; the Gallery’s Glyn Winchester has also been a great support. The independence of the project is a way of underscoring our own priorities, which are evident in all kinds of ways through the framing of the event: the name, the graphics, the publicity, the choice of which artists, writers and publishers to invite. There are many Art Publishing Fairs in the UK and abroad and we have had an eye on some of those. But in another sense this Fair has been invented from scratch. And for that reason it will work well as a foundation for bigger and more varied research initiatives to come. We’re talking about a future peer-reviewed journal, discursive gatherings – dream dinner date/fantasy football team type things with exciting living people—maybe some dead folk too, ghosts. No zombies. Digital Roland Barthes’ Camera Lucida . . .

It’s particularly good to be working with current students and recent Falmouth University graduates. As part of FOMO, Graham Taylor who studied Fine Art and who graduated in 2015 is curating an exhibition entitled Practically Outside, involving a dozen or more Falmouth alumni. His contribution makes a direct engagement with the FOMO ethos, looking critically at what it means to be an ‘emerging artist’, engaging in the most thoughtful way with different platforms of exhibition and print publication.’

F O M O also includes contributions from writers, artists, poets, publishers, activists, hackers, Falmouth University alumni and musicians both national and international.

F O M O is an inaugural event, bringing a new art research collective into being, which, over forthcoming months will stage events in different forms and at different locations, connecting diverse networks.

https://falmouthartpublishingfair.wordpress.com/

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Fine Art Course Coordinator performs sell out live performance for Glasgow Film Festival

Gillian Wylde, Course Coordinator on BA(Hons) Fine Art presented a sell out live performance and lecture as part of the 13th annual Glasgow Film Festival.

The Festival featured a programme packed full of premieres, previews, unique pop-up cinema events, themed screenings, discussions, Q&As and live performance.

Taking place at the CCA: ‘Centre for Contemporary Arts venue’, Glasgow’s hub for the arts, Gillian presented ‘Will Internets Eat Brain?’ a live performance of fragments, texts, images and ideas trending in some of her recent work, followed by a discussion.

Gillian works mainly with video, performance, object and text. Central to her work is a critical engagement with new technologies, the mediated and the installed and simple interconnections of agency. Her works tend to get made in response to contexts of location and place, encounter and dialogue(s), ad-hocism, foraging and chance. Works comment on some of the social and political implications of new technology and practices, often challenging traditional ideas of the art object and means of production or productivity. ‘Material things or stuff’ in relation to the video camera, processes of appropriation and post-production are constants through most of the work – perhaps a savage smell or hairy logic.

Gillian’s work has been shown nationally and internationally including Transmodern Live Art Action Festival, Baltimore; Videotage, Hong Kong; Alytus Biennial, Lithuania; Tao Scene, Norway; Lounge Gallery, London.

BA(Hons) Fine Art in Berlin

berlin3At the end of January, students from all three years of BA(Hons) Fine Art enjoyed a study visit to Berlin, arriving in sub-zero temperatures and heavy snow which resulted in their diversion to land at a different airport than planned.

Highlights of the trip included gallery visits to KW Institute for Contemporary Art, The Hamburger Bahnhof and visits to The Jewish Museum Berlin. Students also enjoyed a night at the legendary Berghain nightclub, described as quite possibly the current world capital of techno, named after its location near the border between Kreuzberg and Friedrichshain. Visit organiser and first year Course Coordinator Gillian Wylde said, ‘Lots of inspiration is developing out of this exciting study visit, into future art projects’.

Second year students Ella Squirrell and Isaac Aldridge shared their experiences of the trip…

Ella:The first day we spent exploring the city on foot, coming across photographic exhibitions in museum island, and popping into family run cafes to rest our snowy feet. I was very satisfied with the amount of inspiring contemporary painting exhibitions in the city, particularly Tatjana Doll at the Berliniche Gallerie, ‘My Abstract World’ at the ME Collectors Room and Lawrence Carroll: ‘Under The Blue’ at the Buchmann Galerie. These three exhibitions were the most relevant to my current work; however, in a city as artistically enriched as Berlin, I sought out other exhibitions that weren’t as pertinent in their art form. There were many in in Kreuzberg, along Lindenstrasse: commercial galleries with contemporary art, a lot of sculpture, installations and video work.

On the last day, we went to Transmediale, a festival with workshops and seminars, about modern day alienation and technology taking over. These ideas relate to my interest in society coming away from nature, and about being absorbed into a modern society. We also visited culturally historic places, such as war memorials, the Musical Instrument Museum and the Berlin Wall.

I loved the freedom of the trip. Tutors would recommend places, and there were meet up points every day, but everyone very much could build their own timetable, and we shared our experiences over breakfast or as we bumped into each other in the city. The trip was very socially engaging, it allowed the three year groups to integrate naturally, and I got to know people within my course better through shared experience and conversations about the art we had seen’.

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Isaac: In my opinion, our study trips are a gateway into exploring your own practise further than the walls of the studio. I have visited Venice and Berlin in the two years I have been studying at Falmouth. This Berlin trip offered an open-ended itinerary, which was perfect for exploring the city’s heritage and culture as well as the art. I managed to visit all areas of Berlin, seeing the Reichstag Building, the Holocaust Museum, Brandenburg Gate and many more historical points of interest. Additionally, in the evenings I was able to explore Berlin’s famous night culture, catching the U-Bahn all over to interesting and edgy bars (and even a Techno super club!).

The art in Berlin was unquestionably admirable in all senses. From the East Side Gallery where artists had painted the remains of the dividing wall, the Hamburger Bahnhof which holds an amazing collection of masterful works including a personal favourite of mine – Cy Twombly, to the Berlinische Gallery of Modern Art with an array of works in all disciplines from painting to sculpture and massive installations, and the Bauhaus Archive which houses all variations of the art types style of work including the building itself (a long with many, many more smaller galleries and exhibitons)!

I found the most enjoyable part of the trip was the freedom to pick and choose where to visit, buddying up and exploring the city ourselves with a meet up point later in the day at an exhibition to discuss with everyone else where they had been and where they were planning to go. Having the opportunity to see these places has fed my own work in terms of seeing more than just the conventional painters I would generally seek to inform my work, and having a wider breadth of information to work from and to reference in my day to day studio life’.

Images courtesy of Jade Bowmer.

Gillian Wylde at Focal Point Gallery

Big Screen Southend is pleased to present ‘EYECATCHER’, a selection of video work from seven artists as part of its on-going programme of artist moving image to coincide with Focal Point Gallery’s programme. Falmouth BA(Hons) Fine Art Course Coordinator Gillian Wylde is one of the artists involved.
‘EYECATCHER’ refers to the motive of ‘Big Screen’ as a feature that commands our attention as we enter Elmer Square, reflecting the same purpose of an architectural folly as a focal point to enhance or draw the attention of a viewer within a landscape. Based on Volker Eichelmann’s research around the architectural folly, the programme will also include ‘Follies and Grottoes’ (2003-2006), an extensive video series of architectural sites visited by the artist throughout the U.K.

Within this, Eichelmann refers to the influence of the camera viewfinder in its ability to accentuate the scenic composition of these architectural ornaments.

Using ‘cut and paste’ techniques, Gillian Wylde’s short video occurs on the surface combining data functionalities from different sources that include motor soul browser doings, googlisms, Wikipedia factualities and post-production activities.

‘EYECATCHER’ | Diann Bauer, Milo Creese, Cynthia Cruz & Simon Howlett, Eva Fàbregas, Gillian Wylde

28 January – 23 April 2017.
motor soul browser (2016) Gillian Wylde

‘Motor Soul Browser’ (2016), Gillian Wylde

New commission by Gillian Wylde at Arnolfini, Bristol

The ‘Moving Targets’ summer season at Arnolfini, Bristol (29 July – 11 September 2016), celebrates the 40th anniversary of Punk.  ‘Resist Psychic Death’ opens in Gallery 1 at the Arnolfini on Friday 12 August, an expanded exhibition inviting audiences to question and discuss the history and future of punk.

The Day The World Turned Day-Glo, Gillian Wylde, 2016

The Day The World Turned Day-Glo, Gillian Wylde, 2016

 

The exhibition includes a new commission by Falmouth School of Art Senior Lecturer in Fine Art, Gillian Wylde. The commission, ‘The Day The World Turned Day-Glo’ includes effervescently discordant video works, collaged with corrupted image and text; it takes over Arnolfini’s foyer and overflows into the Café-Bar and Bookshop.

‘The Day The World Turned Day-Glo’  is open 11am-6pm daily for the duration of the Moving Targets season, entry free, donations welcome.

The Day The World Turned Day-Glo, Gillian Wylde 2016

The Day The World Turned Day-Glo, Gillian Wylde 2016

Gillian Wylde makes performative work for video and installation. Central to her work is a critical engagement with technologies, language and the mediated. Processes of appropriation, petty arrangement and post-production are constants through most of the work like maybe a savage smell or hairy logic. Her work has been shown nationally and internationally including; Transmodern Live Art Action Festival, Baltimore; Videotage, Hong Kong; Alytus Biennial, Lithuania; Tao Scene, Norway, Experiments in Cinema, Albuquerque and CCA Gallery, Glasgow. Recent work includes: ‘Enflamma Diagra’ a collaboration with Neil Chapman ICA, London, ‘Snakes&Funerals’ a collaboration with James S Williams and Emily Jeremiah for ‘Queer The Space’ CCC, London and ‘Inna-deno pudenda membra’ an essay published in ‘The Interior’ by Eros Press.

The Day The World Turned Day-Glo, Gillian Wylde 2016

The Day The World Turned Day-Glo, Gillian Wylde 2016

Falmouth Fine Art Student Reps celebrate

BA(Hons) Fine Art Student Reps Ruby Hall and Bryony Hacker

BA(Hons) Fine Art Student Reps Ruby Hall and Bryony Hacker

Falmouth School of Art congratulates Student Representatives from BA(Hons) Fine Art at Falmouth, who are celebrating success and recognition this week at the annual FXU Awards, which took place at the National Maritime Museum Cornwall.

FXU – the student union for Falmouth and University of Exeter in Cornwall – awarded the Fine Art Rep Team ‘Most significant Contribution to the Student Voice’, and from that team, Bryony Hacker, who has also served as the Falmouth School of Art Department Rep this year, was named ‘FXU Rep Legend’.

Every course at Falmouth University has Student Representatives, elected from within each year group annually. The role, which can be demanding as well as rewarding and challenging. gives students a great opportunity to gain experience representing their peers at course, department and University levels, and participate in initiatives and working groups relating to developments at Falmouth.

Fred Mallin, FXU Falmouth President, said of the Fine Art Rep Team, “They have been engaged, committed, positive and responsive, ensuring all students on their course have been represented. Between them they have attended Student Staff Liaison Groups, Departmental Boards, Student Councils, the AGM and UGM, Department Rep Working Groups and Falmouth Campus Reps meetings. [They] have been exceptionally proactive, providing strong representation of their peers and providing fair feedback both to staff and then back to students…as a cohort they have gone above and beyond their roles,effecting change on their course and the wider student experience.” First Year Course Coordinator Gillian Wylde described the team as “extremely pro-active and engaged as a point of contact for students on issues relating to the Fine Art course and facilities”.

Nominating Bryony Hacker as FXU Rep Legend, fellow Fine Art student and Rep Ruby Hall wrote, “I nominate Bryony because she is a hardworking and committed Student Rep and Falmouth School of Art Department Rep. Her attendance and communication between students and meetings is outstanding and she makes everyone feel in-the-loop. Her commitment to the roles is fantastic and she uses social media to communicate effectively. She has a passion for change and is proud to study at Falmouth, which easily rubs off on to her peers. I believe her hard work, commitment and positive energy should receive the recognition it deserves.”

Supporting the nomination of Bryony Hacker, Course Coordinator Gillian Wylde wrote, “Her role involves meeting with and talking to Fine Art students about the relevant issues affecting the cohort. Bryony is at all times, friendly, honest and hard working. She keeps the students she represents informed of key decisions so that they can feel confident that their voice is represented, working with the School to identify and resolve issues which may arise…providing feedback to the students she represents. Bryony has been exemplary in her role, directing students to information about services offered within the University and the Students’ Union. She is aware that the ‘voice’ of students matters and contributes toward positive change and improvements in the School.”

This year’s Fine Art Reps were Constance Barker, Jamie Battersby, Jessica Glover, Bryony Hacker, Ruby Hall, Anthony Kenny, Charlotte Macias, Tabitha Tohill-Reid, Chris Slesser  and Alexandra Trinder. We’re proud to have such dedicated and effective Reps in the Falmouth School of Art.

 

ISEA2016 HONG KONG 香港 CULTURAL R>EVOLUTION

Data Germs Session (Re)voting data A research panel at ISEA 2016, Hong Kong, comprising:

Jane Prophet, City U HK; Helen Pritchard, Goldsmiths, University of London; Gillian Wylde, Falmouth University; Jaden J. A. Hastings, University of Melbourne; Tarsh Bates, The University of Western Australia

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http://www.isea2016.info . Read the (RE)volting Data abstract here