susan pui san lok, Untitled (Everything Flows), 2011 (R&D still)

Roderick Buchanan

Cornford & Cross

Dryden Goodwin

susan pui san lok

Everything Flows is a project conceived and curated by Film and Video Umbrella. The title and overall theme refer to the heightened state of performance attained by an athlete or sports star, in which body and mind are operating in unison, at maximum impact and with optimum ‘flow’.

Everything Flows explores the distinguishing features of this elusive, temporary state, and the various biomedical perspectives that inform it, highlighted in four newly‐commissioned moving‐image artworks generated by four artist‐scientist partnerships. After a period of research and development in 2010 funded by the Wellcome Trust, and a further Large Arts Award from the Wellcome Trust’s Engaging Science grants programme, the project went into production in autumn 2011. The works will be shown together in a major exhibition at De La Warr Pavilion in summer 2012, coinciding with the Olympic Games, before gaining further national exposure. The launch exhibition will be accompanied by a programme of collateral events in Bexhill, Brighton and London, illuminating the biomedical science behind the work.

The four artist-scientist partnerships are:

Roderick Buchanan and Dr David Shearer

Cornford & Cross and Dr Richard Ramsey

Dryden Goodwin and Elsa Bradley

susan pui san lok, Dr Tali Sharot and Professor Nicky Clayton

Katja Krebs, Translation Studies, May 2010

Acts of Translation was a special issue of Journal of Visual Culture, v.6, n.1, edited by Joanne Morra and Mieke Bal. The contributing authors were:

Gary Shapiro The Absent Image: Ekphrasis and the ‘Infinite Relation’ of Translation

Lawrence Venuti Adaptation, Translation, Critique

Nora M. Alter Translating the Essay in to Film and Installation

Sonja Neel M/Othering Europe: Or How Europe and Atlas are Balancing on the Prime Meridian, She Carrying the Alphabet, He Shouldering the Globe they are Walking on

Jillian St. Jacques Retrotranslations of Post-Transexuality, Notions of Regret

Joanne Morra Daughter’s Tongue: The Intimate Distance of Translation

Mieke Bal Translating Translation

susan pui san lok Translators’ Notes

Emily Apter Untranslatable? The ‘Reading’ versus the ‘Looking’

Dept of Film, Theatre & Television, University of Reading, UK

24th – 25th September 2011

Image: Gayle Chong Kwan, from the photographic series, Senscape Scotland (2009)

The aim of this conference is to examine diverse contestations and constructions of ‘British Chinese’ culture/’Chinese culture in Britain’ by facilitating dialogue among academics and practitioners across disciplines and art forms. How can the perceived homogeneity of ‘British Chinese’ culture be challenged to reflect the diversity of identities and experiences in the UK diaspora? Who plays a part in constructing these strands of culture and for whom are they constructed? What is the relationship between communal forms of identity and the individual identities of artists? To what extent do ethno-national discourses impact upon the making of work? Such contestations over culture are well known in other contexts (e.g. ‘black British’, ‘BrAsian’, Asian-American), but the debates over ‘British Chinese’ culture has yet to make significant impact in the public debate with no published books on this subject to date. This conference seeks to bring together academics and practitioners for the first time, from any discipline, to move debates forward on the contested nature of British Chinese culture.

Contesting ‘British Chinese’ Culture: Forms, Histories, Identities

Provisional conference schedule (subject to change)

DAY 1: Saturday 24^th September

9.30 Registration and Coffee

10.00 Introduction

10.15 Keynote I: Greg Benton (University of Cardiff)

(Co-author of The Chinese in Britain, 1800-Present)

11.15 Tea Break

11.45 Panel I: Contesting Identities (Chair: Greg Benton)

Professor Miri Song (University of Kent)

Jiaqi Hou (University of Manchester)

Dr. David Wong (University of Reading) and Dr. Phebe Mann (University of East London)

1.15-2.15 Lunch 

A screening of the film Ping Pong (1986) will take place in the Cinema.

2.15 Keynote II: Gao Minglu (University of Pittsburgh)

(Author of Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art)

3.15 Panel II: The Personal vs the National (Chair: Diana Yeh)

Dr. Katie Hill

susan pui san lok (artist)

Anthony Key (artist)

Bill Aitchison (theatre and performance artist)

5.15 Break

5.30 Performance by Kathy Hall from the London Jing Kun Opera Association

Videos by Mad for Real (Cai Yuan and Jian Jun Xi).

6.30 Public Lecture: Isaac Julien

Day II: Sunday 25^th September 2011

10.00 Keynote III: Daphne Lei (University of California, Irvine)

(Author of Alternative Chinese Opera in the Age of Globalization)

11.00 Roundtable: Practitioners (Chair: susan pui san lok)

Kathy Hall, London Jing Kun Opera Association

Irene Ng, actress

Lucy Sheen, actress

Erika Tan, artist

Gayle Chong Kwan, artist

12.00-1.00 Lunch

1.00 Panel III: Institutions (Chair: Katie Hill)

Dr. Andy Willis (University of Salford) and Dr. Felicia Chan (University of Manchester)

Dr. Simone Knox (University of Reading)

Followed by a roundtable discussion with:

Sally Lai, Chief Executive of Chinese Arts Centre, Manchester

Tessa Jackson, Chief Executive of the Institute of International Visual Arts (iniva)

Erika Tan (artist)

3.00 Break

3.30 Parallel Sessions:

Panel IV: Place and Identity (Chair: Ashley Thorpe)

Dr. Lia Wen-Ching Liang (Tsinghua University)

Shengfang Chou (University of Warwick)

Dr. Felicia Chan (University of Manchester) and Dr. Andy Willis (University of Salford)

Dr. Amanda Rogers (Royal Holloway)

Panel V: Embodied Identities (Chair: Simone Knox)

Professor Helen Bailey and Sarah Waller (University of Bedfordshire)

Jonathan Chu (Kingston University)

Yuen Fong Ling (artist)

Dr. Kimho Ip (Free University, Berlin)

5.30 Closing Roundtable Discussion

6.15 Conference ends

Transport:

Reading is only 25 minutes away from Central London (Paddington) and has direct coach and rail connections with London Heathrow and Gatwick Airports. For more information, please click here

ANIMALS – CATS  TODAY 17.7.79 SIAMESE KITTEN declared an illegal immigrant when after being put in the wrong aircraft at Toronto, she arrived at Birmingham Airport.

BIRMINGHAM – HANDSWORTH  TODAY 13.7.81 RIOTS. CONT. g/v’s broken shop windows and interiors of looted shops. g/v’s policing in Handsworth streets. Interview with black youths who described the rumours of disturbance they had heard earlier that day, lootings and vandalism in the area and had praised the police force. g/v’s badly damaged police transit vans driving dowm street. Interview with social worker re rumours that the National Front would be marching through Handsworth CONT….

CHINA & THE CHINESE TODAY 11.2.81 FORTUNE COOKIES John Swallow report from Wolverhampton where a factory has opened which makes fortune cookies for the first time in this country. John talked to the managing director Patrick Fan and he sampled one of the cookies. g/v’s cookies being made

DISASTERS – FIRES – FIRE BRIGADE NEWS 20.9.80 UMBRELLAS Legislation is being introduced in Japan to have umbrellas licenced as dangerous weapons, John Swallow went to Dudley and asked ladies ther if they became dangerous when they had an umbrella. g/vs people with umbrellas in the rain g/vs Dudley firemen with hoses, supplying the rain

EVICTION TODAY 1.6.78 GYPSY FAMILY keep being moved from several camp sites in Herefordshire and doctors are concerned about the welfare of Mr & Mrs. Smith’s 3 year old son Timmy who has a serious bone disorder. Interview Mrs. Smith at their gypsy caravan site re Herefordshire County Council failing to set up a permanent gypsy site despite the fact they are required to do so by Law. Interview Sir Michael Higgs re the reasons why the council have no permanent gypsy sites, etc. Brief est shot County Hall, Hereford.

Belatedly following on from NEWS (2005), these are further selected entries from the ITV Central regional news index card catalogue, 1956 to 1985, at the Media Archive of Central England, University of Leicester. Spelling, punctuation, and capitalisation as they appear on the  cards (tape source references omitted).

Forthcoming in ‘Ghosts‘, the second issue of Paperweight:

Preview: Friday 1 April, from 6pm

Franko B, David Birkin, Ansuman Biswas, John Burgess, Matthew Burrows, Tony Carter, Tamsyn Challenger, Jules Clarke, Ben Cockett, Susan Collis, Michael Corkrey, Keith Coventry, A. David Crawforth, Mikey Cuddihy, Shane Cullen, Michael Curran, Judith Dean, Mark Dean, Nicolas Deshayes, Adam Dix, Richard Elliott, Robert Ellis, Tracey Emin, Laura Emsley, Alexa de Ferranti, Peter Fillingham, Edwina fitzPatrick, Rebecca Fortnum, Eloise Fornieles, Stephen Fowler, Paul Fryer, Rachel Garfield, Mary George, Mathew Gibson, Bruce Gilbert, Colin Glen, Lucy Gunning, Matt Hale, Carl Michael von Hausswolff, Denise Hawrysio, Damien Hirst, Rachel Howard, Marc Hulson, Sarah Jones, Simon Lawson, Peter Liversidge, Sarah Lucas and Olivier Garbay, Maria Marshall, Ross McNicol, David Mollin, Charlotte Moth, Hayley Newman, Paul Noble, Monika Oechsler, Tom Ormond, Lily Paine, Tom Paine, Tamsin Pender, Susan Pui San Lok, Aura Satz, Boo Saville, Michael Shaw, Conrad Shawcross, Naomi Siderfin, Bob and Roberta Smith, Julian Stallabrass, Dafna Talmor, John Timberlake, Caroline Todd, Roman Vasseur, Jessica Voorsanger, Mark Wallinger, Joseph Walsh, Roxy Walsh, Amelia Whitelaw, Keith Wilson, Erika Winstone


Edwina fitzPatrick, Flights of Fancy, 2007, paper, cork pads, pins, image courtesy the artist

Fraternise – the Salon gathers a cohort of artists in a curated, fundraising exhibition, to support the future existence of Beaconsfield – the pioneering, non-profit organisation that has provided a laboratory and presentation space for artists since 1995.

Beaconsfield is an artist-led entity that specialises in encouraging artists to pursue projects of ambition and to experiment without commercial pressure. The Salon brings together collaborators, patrons and protégés who have worked with Beaconsfield or who support its role in the artists’ community.

The Salon offers a rare opportunity to view a diverse range of contemporary works (many artists exhibiting together for the first time) and to start or expand a collection. Sales will benefit both participating artists and Beaconsfield.

Fraternise – the Salon is co-curated by the charity’s artist-trustees, Rachel Howard, Judith Dean and artist-directors A. David Crawforth and Naomi Siderfin.

22 Newport Street
London SE11 6AY
info@beaconsfield.ltd.uk
+44 (0)20 7582 6465

http://www.beaconsfield.ltd.uk
Beaconsfield is a Regularly Funded Organisation of Arts Council England

Siobhan Davies Andrea Buckley Lindsey Butcher Annie Pui Ling Lok Charlie Morrissey

Commissioned Artists: Massimo Bartolini Sam Collins E V Crowe Angela de la Cruz Matteo Fargion Alexandra Hughes Alice Oswald Clare Twomey Ben Tyers

Tues 26 Oct / 8pm / Stratford Picturehouse

Last event in a series of talks presented by Film and Video Umbrella, in which artists known for innovations with the moving image showcase new and recent work and discuss their practice. ‘Making the Cut‘ is part of ‘Free to Air’, an ongoing series of exhibitions and events, which take as a starting point Roosevelt’s famous ‘four freedoms’ – freedom of speech, freedom of religion, freedom from want and freedom from fear.

Film and Video Umbrella presents a series of talks in which artists, known for their innovations with the moving images, showcase new work and discuss their practice. These presentations focus on artists who have made their mark over the last few years, while speculating also on the future of this kind of experimental practice at a time of unprecedented pressure on public funding.

For more details on the talks and the Free to Air programme, please visit: www.freetoair.org.uk

7 October, 8.30pm, Shezad Dawood Ritzy Picturehouse, Brixton

11th October, 6.30pm, Leo Asemota, Iniva at Rivington Place

12th October, 6.30pm, Jananne Al-Ani, Ritzy Picturehouse, Brixton

15th October, 6pm, Gayle Chong Kwan, Chelsea College of Art and Design

17th October, 1.30pm, Zineb Sedira, The Gate Picturehouse, Notting Hill Gate

18th October, 6.30pm, George Chakravarthi & Campbell, Iniva at Rivington Place

20th October, 7pm, Ergin Çavuşoğlu, artsdepot

21st October, 7pm, The Otolith Group & Mirza and Butler, The Showroom

25th October, 6.30pm, Sonia Boyce, Iniva at Rivington Place

26th October, 8pm, susan pui san lok, Stratford Picturehouse

In 2008, Journal of Visual Culture inaugurated a new Events section, with a multi-authored critical dissection of Documenta 12 (vol.7, no.2). The move is a response to a shift over the past few decades, which has seen the exhibition and/as event encroaching on the territory once steadfastly occupied by the academy and its related publications, as sites for positing theories, exploring histories, and pertinent analyses of visual culture past and present. While the art exhibition, industrial fair, archive, and museum and gallery displays have long played a pivotal role in structuring our public and private experiences of visual culture — temporally, spatially and textually — educational projects, screenings, performances, and festivals have also gained in influence as instances of visual culture in their own right and, simultaneously, as discursive frames for thinking through visual culture. As such, the Events section is envisaged as an experimental forum for analyzing events — very broadly defined as noteworthy occasions or occurrences in visual culture — beyond the limits of their temporal, spatial, and practical boundaries. We appreciate but do not favour actuality: no event is too far in the past, too present, or too far into the future for our consideration. We encourage reflections that diverge from the formats, perspectives and styles readily available in the weekly or monthly press, or in specialist academic journals; we welcome single, multiple, and interdisciplinary points of view, dialogues, polemics and debates, from artists, writers, academics, curators, and critics alike (as well as none of the above).

Submissions: 1,000 to 2,000 words, following the Journal of Visual Culture house-style where appropriate—for further info, click here

Deadlines:  End of January (August issue), end of May (December issue), end of September (April issue)

Contact: s [dot] lok [at] journalofvisualculture [dot] org