This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past. It considers the role of memory and how it is embodied in cultural artefacts (postcards / photographs / war memorials / landscapes / gardens / tourist trophies / Victorian hair jewellery / mementos / family heirlooms / eBay bargains). It seeks to address the gaps between those private, small objects – the ephemera of everyday life which are often associated with the intimate spaces of the body – and the grander projects of the public body, often artefacts of enduring commemoration. Souvenirs are both traces of highly personal experiences and part of a growing nostalgia industry that is fed by the acts and artefacts of collective remembering.
Some suggestions for readings
- Baerenholdt, J O, Framke, W, Haldrup, M, Larsen, J and Urry, J (2004) Performing tourist places, Farnham: Ashgate.
- Barthes, R. (2000) Camera Lucida, London: Vintage Classics.
- Batchen, G (2004) ‘Ere the substance fade: photography and hair jewellery’ in Edwards, E and Hart, J Photographs, objects, histories: on the materiality of images, London: Routledge.
- Baudrillard, J (1996) The System of objects, London: Verso.
- Hirsch, M. (2012) Family Frames: Photography, Narrative and Post-Memory, Cambridge, Mass., Harvard University Press.
- Kuhn, A. (2002) Family Secrets: Acts of Memory and Imagination, London: Verso.
- Kwint, M, Breward, C and Aynsley, J (eds) (1999) Material memories: design and evocation, Oxford: Berg.
- Nora, P (1989) ‘Between memory and history: Les Lieux de mémoire’, Representations, 26: 7-25.
- Shapton, L (2009) Important artifacts and personal property from the collection of Leonore Doolan and Harold Morris, including books, street fashion and jewelry, London: Bloomsbury.
- Stewart, S (1993) On longing, Durham and London: Duke University Press.
Films to watch:
- Terence Davies (dir.) Of Time and the City, 2008.
- Grant Gee (dir.) Innocence of Memories, 2015.
- try mudlarking on the Thames in search of accidental souvenirs
- have a look at Mark Dion’s work from Tate
Image: Rachel Whiteread, Installation, Tate Britain
Studio 01: ideas in places
This studio prescribes a direct treatment of place, whether subjective or objective.
Studio 02: Narrative and Storytelling
This studio focuses on modes of storytelling and narrative conventions. We will particularly consider how narrative intersects with, and informs, identity.
Studio 03: The Conquest of Joy
This studio encourages dialogues around the cultural production at a time when narratives founded on certainty have ceased to make sense.
Studio 04: Bullshit, propaganda and post-truth
This studio will look at the emergence of the notion of ‘post truth’ and explore links between other ideas around propaganda and Harry Frankfurt’s argument about ‘bullshit’. We will consider the usefulness of these ideas, and how they can be explored in creative practice.
Studio 05: Meaningful Work
This studio will consider the value of making -in itself, independent of the product or outcome, exploring the idea of craft as meaningful work.
Studio 06: Writing Rough
What are the outer limits of the essay? Write on the edge of the possible in a rich, researched and evidenced discussion which creatively explores the expanded field of the essay.
Studio 07: Thinking with Ruins
This studio pays heed to these cultural forms and persuasions but asks, how might we productively think with ruins in the present?
Studio 08: The things you can tell just by looking (or, Oriented Writing)
Writing tells us who we are and how each of us thinks and interprets the world.
Studio 09: Le Marteau Sans Maître
Digging through the deepest layers of archaeological time, André Leroi-Gourhan (La geste et la parole, 1964) concluded that for millions of years, human culture and technology evolved without complex language, rational planning or abstract ‘thinking at a distance’.
Studio 10: Globalism
For good or ill, we live in a global world. Whilst this may appear to be obvious, globalism is only a relatively recent term as is the phenomenon itself. What do we mean by this? How did we arrive in this place?
Studio 11: Performative Acts: Art, Architecture and Writing
Nico de Oliveira
In the last decade or so we have moved from objects to subjects or audiences. In parallel, the word performative has been adapted from a theoretical term to a key rubric within the discourse of contemporary art, architecture and beyond.
Studio 12: Decay, Repair and Back Again
Things break down and decay. In this studio you will experiment repair as strategy to negotiate breakdown, and you will practice mining patina and weathering for information and stories.
Studio 13: ‘If I stay silent nothing will change’: Identity, Politics, Social Change and Creative Culture(s)
This cross-disciplinary studio considers how power, culture, politics, identity, representation, activism, social media, and mass culture theory intersect with a range of arts practices, including photography, architecture, design and fine art, film studies, fashion and music, sound, pop art, and theatre.
Studio 14: A Material World
As the title suggests, this Studio will be based on the processes that are intrinsic to the design and making of textiles, however it will also be looking at the materiality of these textiles as objects.
Studio 15: Souvenir
This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past. It considers the role of memory and how it is embodied in cultural artefacts.