Nicolas de Oliveira
This studio will be delivered online.
The studio looks at space as practice, since each location is a mutable entity framed as a moment in time, populated by individuals and shaped by their actions as artists, musicians, curators, designers, architects, writers and spectators. Space can be a kind of frame or perhaps stage on which things take place. Space is the catalyst for having things happening.
Writing about these spaces filled with diverse practices in creative, critical and challenging ways is the focus of the dissertation, yet it ought not to be seen as a separate task, but as a way of intervening in the work and its creative process and reception. Writing, in this way does not stand apart from the work, but becomes an integral part of it.
In the twenty-first century, everything seems to be less substantial, tangible – reduced or augmented to an atmosphere. In theatre, cinema and installation space largely ceases to be functional and tends towards illusion and special effect – dominated by immersive atmospheres. As technologies render virtual space an everyday occurrence, it is imperative that we be able to understand the perceptual and conceptual shifts it brings about.
Studio 17 considers forms of writing as a means of interacting with the cultural and material world – through books, objects, exhibitions and buildings. Instead of focusing solely on the pragmatics of physical stuff, we seek out the atmospheres of place, site and space. Thus writing can be phenomenological since it chronicles the experience mediated through the senses: it stands alongside it, comments on it, it orders and choreographs. Writing about art and architecture, it is argued, has a strong curatorial remit since the writer intervenes in the presentation by interpreting and reshaping how we perceive and understand. Making exhibitions is then a form of both storytelling and critical engagement with artefacts; the way in which something is presented (visually, sonically or textually) is of great significance to how we perceive it – we can call the display an atmosphere, something that can be read, described and decoding with the aim of shaping our cultural environment.
- Introduction to the Dissertation Module + Formative Project (Box)
- The role of Atmospheres in Art and Architecture, Lecture Seminar
- Exhibition Visit (Thamesiology)
- Presentation of the Formative Project (Box)
- Curating Display Space: Lecture Seminar + Writing about Art and Space Task
- Presentation/Reading of Student Texts/Reviews
- Group Tutorials
Readings and resources
- Gernot Böhme, The Aesthetics of Atmospheres: Ambiances, Atmospheres and Sensory Experiences of Spaces, Routledge, 2018.
- Katrina Palmer, The Dark Object, Bookworks, London, 2013
- Boris Groys, Going Public, Sternberg Press, 2010
- Michel de Certeau, The Practice of Everyday Life, University of California Press, 2011
- Juhani Palasmaa, The Eyes of the Skin, Wiley, 2012
- Junichiro Tanizaki, In Praise of Shadows, Vintage Classics, 2001
- David Clarke, The Cinematic City, Routledge, 1997
- Kenneth Goldsmith, Uncreative Writing: Managing Writing in a Digital Age, Columbia University Press, 2011
- Dorothea von Hantelmann, The Experiential Turn, 2014
- Nicolas de Oliveira and Nicola Oxley, The Door Ajar: Patrick Jolley, Gandon Press, 2011
- Alex Coles, The Transdisciplinary Studio, Sternberg Press, Berlin, 2012
- Paul O’Neill,The Culture of Curating and the Curating of Culture(s), MIT Press, Camb.Mass., 2012
- David Balzer, Curationism: How Curating Took over the Artworld and Everything Else, Coach House Books, 2014
- Brian O’Doherty, Studio and Cube: On the Relationship between where Art is made and Art is displayed, Princeton Architectural Press, 2008
- Mousse Magazine, On Display, Issue #61, 2017
- Anthony Vidler, The Architectural Uncanny: Essays in the Modern Unhomely, MIT Press, 1994
Image: Hans Op de Beeck, Staging Silence (3), video still (detail), 2019
|Tutor||Nico de Oliveira|
Dissertation Studios 2022–23
Studio 01: The Pensive Image
Do images in the information age displace texts and become the main vehicle for expressing thought? How do images communicate? What are they are saying? Can images write histories?
Studio 02: Sport and Aesthetics
Dissertation Studio 02 will examine the concept of aesthetics as applied within that most everyday activity: sport.
Studio 03: The Bone Pile. Archive and Myth as Methodology
Starting with the archive as a ‘commons of imagination,’ Studio 03 is testing the bonds between the personal and the collective, the interconnection of heterogeneous histories, archival temporalities and deep places of myth and storytelling.
Studio 04: Public Protest – Spaces of negotiation
How do we shape the city? How do we claim, occupy and inform spaces as people who live, work and play? All places have a history of negotiation over territory and its use – which helps to bring them into their current form. Understanding this legacy through acts of dissent and protest can better uniform us about the places that we inhabit.
Studio 05: “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 06: Thinking with Ruins
Thinking With Ruins begins with the idea that to think about ruination allows us to approach subjects that are of interest materially, aesthetically and politically and it allows us to work across scales – from dust to debris to object to landscape.
Studio 07: Feminist Approaches
In this studio you will be invited to take a feminist approach to your dissertation and its topic, whatever that topic might be.
Studio 08: Fashioning the African Diaspora
Elli Michaela Young
Exploring the fashioning of the African diaspora and with a particular focus on the Caribbean Island of Jamaica, this studio aims to think through how fashion and dress is used to grapple with ideas of self.
Studio 09: Sartorial Culture
This studio examines the intersections and relationships between objects and their visual and discursive representations through the lens of the history of fashion and dress. It locates fashion, or fashionable dress, in the conversations about it, the images portraying it, and the artefacts left in its wake.
Studio 10: “Everywhere we remain unfree and chained to technology”
Studio 10 questions the role of technology in our lives and investigates the environmental ethics concerning how we relate to, and operate within the world and each other.
Studio 11: The Hammer without a Master
Studio 11 explores the idea that we think, remember and decide ‘in the world,’ rather than in our heads, that we are connected in unexpected ways and that this connection may be a key to unravelling some of the paradoxes of modern life and culture.
Studio 12: The Voice of Things
This studio will offer a challenge to the idea that objects are unruly things and need to be brought to heel by labelling, categorising, taxonomising. Instead, it offers an invitation to give voice to the mute and invisible, by listening to objects and treating them as allies.
Studio 13: Suck it up
This studio takes a sideways looks at the intersection of youth culture and late capitalism considering the impacts and influences of desire, the cartoon, consumerism and cuteness in shaping our lived contemporary experience.
Studio 14: Futures Past and Present
Cultural history, from high art to kitsch, is littered with visions of the future; some inspiring, some ridiculous, almost all of them wrong.
Studio 15: A River with Standing
What happens when a river is conceived as a living entity instead of the prevailing perspective of human sovereignty over nature? What political impact may this unprecedented legal status have on the ecological crisis? What do Indigenous cosmologies contribute to current posthuman philosophical debates?
Studio 16: “I can’t see the wood for the trees:” Ecology as Methodology
This studio aims to provoke discussion about the ’reality’ and the ‘myth’ of ecology: the ease with which one can theorise about it, and at the same time the persistent challenges of enacting it as an everyday lived condition of human (and more-than-human) existence.
Studio 17: The Practice of Space – Writing Atmospheres in Art and Architecture
Nico de Oliveira
Dissertation Studio 06 looks at space as practice, since each location is a mutable entity framed as a moment in time, populated by individuals and shaped by their actions as artists, musicians, curators, designers, architects, writers and spectators.
Studio 18: The Poetics of Making
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 19: The Erotics of Infrastructure
Studio 19 questions how our body and subjectivity is formed through our encounters with infrastructure. We will explore what constitutes contemporary infrastructure, such as the digital sphere, financial products and how these may impact the formation of our subjectivity and social organisation.
Studio 20: A History of Efficiency
There is nothing inevitable about the way we organise our societies. Changing the harmful structures of economic efficiency, which are making the planet uninhabitable, is up to us. This studio is for students who are interested in exploring any aspect of the climate emergency.