The Tradition of Bosnian Catholic Tattoos

There was a spell in the not so distant past where I did a module on exhibiting the body as part of my MA in History of Art. It was one of the more challenging subjects because of the sheer newness of the subject to me; basically I was pinging around like an over enthusiastic firework because every lecture we had presented a new idea which I wanted to pursue. Did I want to stay in the renaissance where the body was emerging as a machine, or head into enlightenment with wax modelling, Victorian health and death, or be in the present with bodies and taboos? This also coincided with some interesting events at London's RAI, where I wrote up a film about bodily suspension. Body modification and using the body as a canvas still really intrigues me, which is why a talk given by one of my fellow students in the Croatian Civilisation and Culture class today made me dash here and blog about it. The research is all hers but where I was unsure, I've added, clarified, and interjected because I'm annoying like that.

Croatian Culture and Civilisation part 1

Death of the last King of Croatia

I've decided to put my Croatian Culture and Civilisation notes here because they are slightly more serious in tone than stories about me being ridiculous on my travels around the country. Given that I will be examined about this course, it makes sense that it gets written up - though there may be more academic information available. As I've already said, the first Croatian Culture and Civilisation class I attended emphasised the mix of cultural influences: Illyrian, Celtic, Greek, Romans (with their associated enforced mixture), then Slavs and Ottomans. Like anywhere in the world it has seen tumultuous population changes and a large diaspora, which needs to be seen against a background of local, national and international events and developments.

Reconstructing the impossible: Diocletian and Split

Just no. And no again!

What is it about art, sculpture and architecture that really makes me tingle passionately? Why is it such an obsession with me? This latest lecture from the combined British-Croatian and Split based Croatian-British Societies, given by Goran Nikšić, Conservation Architect, Head of the Service for the Old City Core of Split, provides the perfect answer. He is an architect unravelling a historic architectural mystery; romantic nineteenth century myths are less interesting than the late antiquity/Roman life he is actually uncovering. As he talked about his findings, my brain tingle awoke and once again, I was gripped by an art story.

Being (Digital) Humans

This is strange. I’ve been to many lectures recently but a mild panic about actually having to learn stuff for my skipper exams ensured all my notes have been neglected. The most recent one I attended was part of the Being Human Festival which, as the blurb says, 

Being Human is the UK’s only national festival of the humanities. From philosophy in pubs, history in coffeehouses, classics on social media and language lessons on street corners – the festival provides new ways to experience how the humanities can inspire and enrich our everyday lives. Being Human demonstrates the strength and diversity of the humanities, and how they can help us to understand ourselves, our relationships with others, and the challenges we face in a changing world.

Being (Digital) Humans and how we experience culture - content and knowledge in the humanities - struck a chord. Like it or not, the connection between the digital and human worlds are increasingly making us into digitally driven humans. The work I've been involved with professionally and academically came together in this evening, and the more the speakers went on, the more I found myself wishing I was involved more directly. There were four varied speakers, Professor Patrik Svensson, Professor Todd Presner, Professor Sally-Jane Norman and Professor Lorna Hughes demonstrated the infinite possibilities when you combine the human and the digital.

The River Effra’s Vanishing Act

 

"Yes," said Mr. Fawnhope. "There will be verdure, and that, I think, is what my soul craves. I, with my fair Cecilia, to Merton now will go, Where softly flows the Wandle, and daffodils that blow--What an ugly word is Wandlel How displeasing to the ear!"

Whenever anyone mentions vanished London rivers to me, I can't help thinking of Georgette Heyer's 'Grand Sophie' where I first read about the Wandle. So when there was an opportunity to find out about another of South London's rivers, I decided to make like Mr Fawnhope and jump unbidden into a carriage, in search of verdure, watery pleasure and poetry. Even the musical name 'Effra' conjures images of bucolic enjoyment, and according to Mr Ackroyd, 'is named from the celtic word yfrid, or torrent'.

Croatian Art on the Horizon: Lecture by Vanja Žanko

Cursed Crew (2013)

I took my new language on an artistic field trip to Wandsworth on Tuesday evening. Kristin Hjellegjerde's gallery was hosting an event under the auspices of the Creative Croatia Festival, and people with an interest in the Croatian art scene were there to hear freelance curator Vanja Žanko speak. She not only spoke about her curatorial work with various international artists but offered an insight into the artistic world in Zagreb, and Croatia more generally.

It seemed appropriate to talk about artists and their position as antenna of current events against Kirsten's current exhibition of Ethiopian artist Dawit Abebe. In his large scale, enigmatic yet colourful canvases, he explores the conflicts that can arise when history and technology collide. Although he is talking about his own culture, he is placing it against a broader international context, as he says, 'Ethiopia, like many developing countries, has struggled with the impact of technology and modernisation and its place within a long and rich local heritage and culture'. And that is precisely what Vanja is interested in.

Richard Susskind Lecture: The Future of Litigation and Dispute Resolution

Richard Susskind has been making predictions about the legal profession for some years now. However when you’re closely involved with the practice of law on a day to day basis, as many of us are, it is hard to see the dramatic changes that have taken place. This is especially true if you’re in one of the middling sort of law firms. The firms in the extreme size brackets have probably seen the most change; high street firms with funding issues and larger firms with the push for outsourcing, diversification and international growth. All of this has been well covered in the legal press so Susskind has turned his thoughts to the future of litigation, specifically.

'Poky pigges and stynkynge makerels': Food standards and urban health in medieval England

• The owner of a filthy bakery in Norwich has been fined after inspectors discovered mouse droppings, out of date meat, and grime caked on to the floors inside.
• Loose rodent bait was found in the flour store, mould was seen growing on the ceiling, and a hole in the roof had been given a 'bodge job' repair - with a bucket used to catch the drips

Daily Mail 5/2/15

I wouldn't normally start a post with a quote from the Daily Mail but it illustrates Professor Carole Rawcliffe's seminar on food standards and urban health in medieval England very well. Not only that but much of her archival research is Norfolk based so there is contiguity. There is a misconception that medieval cooks and food-sellers smothered their food with spices to disguise the taste of rotten meat or fish; Carole dismissed this out of hand. She was also scathing of the 1930s' William Edward Mead who said;

The helplessness of our ancestors in the presence of diseases now almost entirely extirpated in civilised communities by means of intelligence sanitation is indeed one of the most striking differences between mediaeval times and our own 

As she went on to explain, not only were there rules and regulations governing the cleanliness and freshness of food markets, but laws regarding weight and measures, all of which were enforced locally and efficiently. Punishments for selling bad meat or bread were extremely harsh - for reasons that I shall come on to. Not only that but designs for market locations and buildings were carefully considered so that they could be as hygienic as possible. Taken as a whole, and combined with the delightful modern bakery mentioned above, Mead's quote can be dispatched to historic oblivion.

Materiality of Art: Or is computer art, art?

It's rare that any lecture fails to spark a meteor shower of ideas but just occasionally I'm caught off guard. The LSE arranged an event to explore philosophical issues about art, and ask whether computer artworks are physical objects? Do they really qualify as art? The speaker Margaret Boden is Research Professor of Cognitive Science at the University of Sussex. I'd never seriously considered the more intellectual arguments about what constitutes 'art' and it also fitted in well with one of the German sessions of the Dresden conference which had focused on modern examples of mirabilia. I obviously hadn't written up that session so felt this was a good opportunity to synchronise some images and notes.

It's a good job I had some mental images of computer art because Boden provided no slides; 'she isn't into technology'. Was it wrong that alarm bells immediately started ringing? I don't paint with oils but I know how they feel, smell, am aware of their texture and understand their material 'paintiness'. I am no computer programmer but have a reasonable understanding of the architecture which sits behind the screen. My knowledge of marquetry is restricted to memories of my father and his woodwork, as well as reading how to guides, so I know about grain, colour, texture, symbolism. Historians of art require insight into the materiality of the objects they are studying, otherwise how do you understand the challenges that face the artist? It is telling that despite my linguistic incapabilities, I gleaned far more from Verena Kuni's visual presentation than Margaret Boden's words - pretty much the way when dealing with art!

Data Protection and Access to Information: An IALS Lecture

I attended the Institute of Advanced Legal Studies 'Data Protection Act 1984, Freedom of Information Act 2000: thirty and fifteen years on – perspectives on the past and prospects for the future' yesterday evening. The talk, as you'd expect from a university event, was quite academic. I'm used to library/legal events where lawyers/PSLs offer practical solutions to difficult legislation, but it was interesting to hear a different take.

This lecture acknowledged the awkwardness of the various conventions, directives, acts etc., which go to make up the legislative framework of data protection/access to information. There were some interesting insights simply because (shock horror) I'm not aware of the history of data protection, and I had never thought about why 'freedom of information' was actually a complete misnomer. It should be 'a right to access administrative documents' legislation. 

Lecture: Exotic birds and animals in the 18th Century garden

Buy a fine singing
bird (1688)

If you're an exotic creature, there's no trusting anything outside in January. From tiny tapirs, tottering giraffes to koalas in mittens our zoological world can be both a lifeline and an unnatural world for the creatures within. I'm clearly no expert on animals, the 18th century, or even the Georgian menageries of old London town, however, yesterday's lecture on exotic birds and animals in the 18th century garden still links to many areas in which I'm interested.

As it is the first in the History of Gardens and Landscapes lectures this term, David Marsh explained that exotica was the theme of  the series; exotica seems to dart about, like a lost traveller, zigzagging through the 18th century. He introduced Dr Christopher Plumb of University of Manchester who is currently writing a book on animals and birds of this period. As a great fan of Timothy tortoise, Christopher's interest in natural history was assured at an early age and he was happy to share some of the colourful stories - both tragic and comic - of England's earliest exotic imports.

Data Protection: A Litigation View

Data protection is normally presented from a risk/compliance point of view and, indeed, it is an essential part of a firm's responsibility to their clients. Information professionals should be involved with these compliance duties and be familiar with processes and principles. However, what about the litigation point of view? Yesterday David Glen of 1 Brick Court took us though some recent legal developments but any errors in law or omissions in sense are all mine!

Background
 

The Data Protection Act 1998 was formed out of the EU Data Protection Directive (also known as Directive 95/46/EC). For the first decade of its existence, it caused a stir as a new area of law but then, litigation-wise, essentially discarded. Data protection has been seen as a secondary cause, offering a peripheral remedy after remedies that libel and misuse of information offer.

David believed that this is shifting and we will be seeing a change in the future. He suggested that people are far more aware of their personal data protection rights because of increased discussion in the press. The increased willingness of the judiciary to apply the data protection thresholds is also key; Tugendhat J. has turned it into a radical issue. The final case (below) that he discussed applies the DPA's already broad issue of fairness in an even wider way.

Mining Literature: Digging Deep or Merely Opencast?

I was genuinely excited about the Mining Literature event, which is part of the Arts & Humanities Festival at King's College London. The blub burbled, 'this panel discussion will explore the representation of mining and miners in literature with examples drawn from the Renaissance to the present. We will discuss the ways in which the labour, science, technology and social history of mining have dug their way into English, American, Canadian and Australian literature'.

 

After completing a dissertation which looked at mining as part of an interdisciplinary exploration of an art/science object, I felt a kind of relief that other people were using 'mining' as part of their studies. Because, frankly, it's a niche topic and I had no idea that others were interested.

A Brief History of the Dance Floor

The things I do in the pursuit of the new. This weekend saw me watching Strictly Come Dancing for the first time; a mostly enjoyable experience in the company of best friends and some purple alcohol. Whether the colour of my drink affected my perception of the garish swirling and artificial tans, I could actually see how guiltily addictive such a programme could become. So when I saw that there was a lecture on the secret history of the dance floor at Kings College London, I signed up immediately. How, I wanted to know, had popular dance become a vast box of living Quality Street?

1234 Get on the Dance Floor (2013) filled the old Anatomy Lecture Theatre and Bollywood lived! The catchy nonsensical international lyrics, the colour, movement and rhythm and we were almost back with Strictly, which demonstrates the universality of the themes Professor Ananya Kabir was picking up. The dance floor is transnational, a home for signature moves in a potentially foreign vernacular, a sacred/key place on which you are urged to get, with an unlikely coupling up being a possible goal.

The Language Of Sculpture: Bernini Canova Rodin

Finally we reach specific sculptors and a review of three in chronological order. Given that we end with Rilke writing a poem in response to Rodin, it seems appropriate to begin with a few poetic observations.

In my experience, occasionally you discover a piece of art which speaks directly to you, and only poetry gives you the freedom to put words into the 'mouth' of the sculpture. This connection between the two art forms for me goes to the heart of understanding both.

Bernini

Bernini was all about bringing art forms together and breaking boundaries in what is known as bel composto. His church creations are a theatrical installations with a combination of the sculptural, pictorial and architectural. St Teresa is the perfect example. She is in mid transverberation and is sculptural, however the viewer has to step back to see the bel composto, the pictorial effect, essentially a scene from a tableau. Mirrors, lights, and candles all contribute to a theatrical event with viewer as spectator.

Eyes of Gods: The Interiority of Sculpture

Reconstruction of Zeus

These notes continue on from the lecture on idols. The boundaries between gods and idols are rather blurred; both have a persuasive presence and share the same kind of sacred space. They are not just representations, but for the people who worship them, they are real. This reality demonstrated in the art of the sculptor through application of colour, surface articulation, movement etc. This is the art of hidden depths (real or implied). All idol elements, dressing them etc, are at one level designed to create an inner life/have inner power for the statue. They are containers of something non-physical. 

This inner power is conveyed through their 'voice' as well as through the eyes. The Egyptian Colossi of Memnon started to make a noise after being damaged by an earthquake. They became famous because they realised the possibility of an interior voice. The skill of a sculptor is to make a figure look like it is on verge of speaking, making them articulate in both physical and spiritual form.

Sculpture: 'Spending their lives in wickedness...'

Boucher, 'Pygmalion and Galatea'

Last night I could have hugged the lecturer; anyone discussing my all time favourite book of stories is entitled to be worshipped and idolised, as far as I am concerned. An avid reader of Ovid and his Metamorphoses, I was overjoyed when Dr Dent said that the lecture was going to use Pygmalion as structure upon which to hang some sculptural issues regarding idolatry. Everyone knows the story of Pygmalion:

Seminar: Museums I have known - reflections on being a guest curator

These notes were quite difficult to write up because in the end I wasn't sure what I wanted to say. I'm seriously regretting not going to the exhibitions mentioned, and given that one of them closed early Jan 2014, there is no excuse. However I wonder if I had seen it, these notes would have become a review of the exhibition rather than an intellectual discussion about the challenges the guest curators faced in their respective shows. This was also a trial of a new lecture format; each gave a brief overview of the exhibition, and then had a ‘conversation’ where they discussed the challenges, differences, goals, ideals etc of the different venues. I bring them all together because it made better sense.

Dr Tag Gronberg immediately struck a chord with the small audience which was dotted around the large theatre in lonely isolation. She stated that writing can be solitary. Therefore when an opportunity to share research and collaborate on a project with fellow scholars arises, it's a good thing to do. Combine this with working with different types of institution and it results in new challenges and opportunities. This lecture came out of the curating experiences of two academics, Gemma Blackshaw and Leslie Topp. They joint guest curated an exhibition both at the Wellcome Collection and Wien museum called 'Madness & Modernity'. Gemma Blackshaw curated the recent 'Facing the Modern' at the National Gallery - the one I really regret not seeing.

What is Sculpture Made Of?

Cava del Braschi, Monte Ceceri

This lecture opened in entertaining style with an immediate reference to the previous one. Dr Dent had practically skirted over material/technique of sculpture but here Dr Jim Harris went straight into this interdisciplinary aspect with the statement (I paraphrase):

Sculpture is what it is we do when we take a memory of people. It goes to the heart and into the very notion of humanity.

We quickly dispatched painting and slammed the door firmly in its face. Painting can be anything but sculpture is better. Materials are as varied as the sculpture they make. Painting tells us a lot but the material of sculpture tells us more. At this point we could have concluded the lecture. But as he says, we would have been rather disappointed. I think what we needed was to be in a quarried amphitheatre, sat amongst the elements of sculpture.

What is Sculpture?

Mama mia!

In the absence of any MA lectures this term most people are probably catching up with their friends, revisiting some nice art shows, having facials or watching Celebrity Big Brother or something. Which is why I am taking a sculpture course at the Courtauld. I was having a Christmas dinner with some similarly study addicted friends and during a conversation about how annoyed* with Birkbeck I was, she mentioned this venerable institution at Somerset House. It turns out they do some really excellent non stressy modules there, so I signed up for this term and these are my rough notes.

'Art is painting' many galleries would have us believe. Exhibitions have traditionally focused on the two dimensional, leaving sculpture, architecture, print makers, decorative arts under represented. Now, in my view, this opening gambit is being challenged, with many major institutions widening their scope to embrace other media. A glance at this years planned exhibitions show fashion, jewellery, design, architecture, which makes it interesting to be focusing on sculpture this term. A stroll around any part of London shows that we are surrounded by it - on the fronts of buildings, in our squares and churches, office lobbies and on our streets.