You are browsing the archive for political.

Wolfgang Tilmans at TAte Modern

February 24, 2017 in uncategorised

I highly recommend this- its very relevant for our PTBM pathway…. a really interestingly hung show!

Wolfgang Tillmans: 2017at TAte Modern

Exhibition…runs until Until 11 June 2017

This is Wolfgang Tillmans’s first ever exhibition at Tate Modern and brings together works in an exciting variety of media – photographs, of course, but also video, digital slide projections, publications, curatorial projects and recorded music – all staged by the artist in characteristically innovative style.

Photograph showing a close-up view of an opened cooked crab with a fly on it


Learning the term ‘Conscientização’

February 19, 2017 in Reading Journal

Cover of book with the same title

I’m not the greatest at articulating intellectual terms. So I was a bit apprehensive about starting to read this book. I’ve decided to take it in bite-size pieces, to let it sink into my (sometimes feels like a pea-sized) brain.

So I’ve just begun to digest the foreword and the preface to give myself a chance to take in what this book is all about (though I have some idea, of course). Already I feel I have new things to take on board as well as aspects to drive me forward with learning to teach well.

The foreword was more interesting than I thought to read, because it reminded me of my own experience and connections with Brazil (where Friere was from). I knew about the thirld world state that Recife was and still is in (where Friere was born). I’ve worked with artists from the North East of England that connected with artists from Recife (North East Brazil) to collaborate on a commission for the 2012 cultural olympiad. Friere also draws from his experience of working in deprived areas such as reform adult education programmes. This reminded me of my  own trip to São Paulo to research and deliver training for the 2016 cultural olympiad in access to the arts for all in Brazil, including development of arts outreach possible in Brazilian prison programmes and amongst favela communities (deprived areas of extreme poverty).

A new word from the preface for my vocabulary (and limited knowledge of Brazilian Portuguese):

‘Conscientização’  as Friere describes it, is to ‘to take action against oppressive elements of reality in the context of  learning to perceive social, political and economical contradictions.’ This has blown my mind a bit!

But I understand it, and perhaps wish I was aware of it when I was studying on my postgraduate degree, I think I was acting out ‘conscientização’ on some sub-conscious level, expressing it through the work I produced during that course. Funny how I could immediately draw on that experience from reading this and reflect upon it after many years. Being aware of it may hopefully be of use now for any students I teach.

I absolutely connect with Friere’s sentence which introduces the book in a way that strives me to delve in and persist with learning about his theories even more: ‘….From these pages I hope at least the following will endure: my trust in people, and my faith [in men and women] and in the creation of a world in which it will be easier to love.’

For is this not what all of us want?





Sonia Boyce at the ICA

February 2, 2017 in uncategorised

Sonia Boyce: We move in her way

Dont’ mis sthis from Sonia our own UAL Chair of Black art!

1 Feb 201716 Apr 2017

Sonia Boyce’s We move in her way. Photograph: George TorodeSonia Boyce presents a new body of work created especially for the ICA.  We move in her way involves the exploratory vocal and movement performances of  Elaine MitchenerBarbara Gamper and her dancers Eve StaintonRia Uttridge and Be van Vark, with an invited audience. A multi-media installation has been generated from the documentation of their open-ended live performance. The title of the work suggests two possible readings: that ‘she’ dictates our movements; or that we obstruct ‘hers’, with both interpretations suggesting power is at playNotions of difference and relatedness make reference to the enduring influence of Dada within We move in her. Processes of collaborative improvisation are exemplified in the piece, referencing the Brazilian artist Lygia Clark in the late 1960s and 70s. Some of the masks worn by the audience are a re-working of Sophie Tauber’s Dada Head (1920) – itself an appropriation of Oceanic sculpture. The final artwork takes another playful turn to create a multi-layered and multi-media installation..

William Kentridge – Thick Time plus Guerrilla Girls

October 2, 2016 in uncategorised

Another recommendation – this show will blow you away..! but be prepared it costs £9.50

at Whitechapel Art Gallery

21 September 2016 – 15 January 2017

South African artist William Kentridge (b.1955, Johannesburg) is renowned for his animated expressionist drawings and films exploring time, the history of colonialism and the aspirations and failures of revolutionary politics.

William Kentridge, The Refusal of Time with collaboration of Philip Miller, Catherine Meyburgh and Peter Galison Film Still 2012 5-channel video projection, colour, sound, megaphones, breathing machine 30 minutes Courtesy William Kentridge, Marian Goodman Gallery, Goodman Gallery and Lia Rumma GalleryIn this major exhibition of six large-scale installations by the artist, music and drama are ruptured by revolution, exile and scientific advancement.

This Also at Whitechapel- is very much worth a look.. and it’s free…

Guerrilla Girls  – is it even worse in Europe?

Whitechapel Gallery Guerrilla Girls Commission Is it even worse in Europe (2016) c

Characteristically deploying their strategic combination of humour, information, bold graphics and a subversive use of public space, their latest campaign includes a banner installed on the front of the Gallery and a display of posters and new research.

runs until 5 March

Skip to toolbar