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Issue 14

(December 2016)

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Issue 15

(February 2017)


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Issue 1

(December 2012)


Dead Tired

Symptoms of Information Overload Grosse Fatigue (Dead Tired), Camille Henrot, 2013, video, 13 minutes, Silex Film and Galerie Kamel Mennour, Paris The digital age is one of endless connectivity and communication. We now exist, for better or worse, in a time that facilitates an intensive and accelerated consumption of data and information. In a conventionally utopian view of the world, humanity seems to have created a modern democracy, a digital landscape where residents are able to voice their ideas, find new information, and engage in discussion and critique. However, the data smog of the twenty-first century, in harmony with our absolute digital immersion, has not been without its real-lif

The Wheel Keeps Turning – An Interview with Carina Ciscato and Chris Keenan

Photo by Michael Harvey, Copyright Chris Keenan When I think about the role of technology in the arts, what first comes to mind is video or sound art, light installations or the use of VR machines, my mind does not instantly fall on ceramics. How technology has allowed for and shaped digital or video art is fascinating but perhaps somewhat straightforward. Mulling over the role of technology in art, I wanted to know more about how technology affects makers and artists who work in more traditional mediums. It was for this reason that I sat down to talk to Carina Ciscato and Chris Keenan at their shared studio in Camberwell to talk about pottery and technology. I first met Chris and Carina whe

Making Home in Filippiada

The Filippiada refugee camp is a few minutes outside of Filippiada, a town in north west Greece. From its road entrance, a cabin and a single slat car barrier left from when the Greek military occupied the site can be seen, and there is no sign of the vibrant community within. Behind this front-piece, you find cabins housing Oxfam, the UN, Doctors Without Borders and a classroom belonging to the school where I worked. You gradually pass a playground, two large tents and the containers where the kitchens and washing machines were located, until you reach the main residential area of the camp. With your back to what I have just described, and your eye following a slight incline, you will see a


‘Every relationship needs a man’ is a belief prevalent in our society from its very beginning. But if we try and actually follow this archaic, short-sighted narrative, what happens when you put two men in one room at the same time? Tom Froy’s ‘HOMMO’ at the Lion and Unicorn Theatre takes a closer look at the link between masculinity and sexuality. ‘HOMMO' tackles the issue of dominance and submissiveness in relationships and tries to explore further how the word ‘gay’ is easily taken out of its context and given a new meaning - ‘less than a real man.’ The play follows two men, played by Erik Alstad and Sam Ebner-Landy, as they fight for dominance in their male-male relationship. While prepar

Eating in the Internet Age

It is becoming increasingly clear that the average London millennial is somewhat obsessed with food. As we are so often told and know so well, however, we are equally obsessed with technology. The two passions go hand-in-hand. We look at, order, and joke about food online. Gags about pasta and recipe videos fill our Facebook feeds and artfully composed brunch snaps pepper our Instagram galleries. The effects of such changes run deeper than might first be imagined. Increased connectivity has led to people being far more knowledgeable about food now than they were a decade ago, and more demanding customers have forced greater quality and choice in the food industry. An inexhaustible wealth of

The Montage Mädels

The morning after Trump was elected a group of Courtauld students met for a lesson on Dada and Fascism. That same day, they founded the Montage Mädels, because silence and inaction felt like complicity. Here is their collective voice, visual and reactionary. Where does the Montage Mädels come from? How would you describe your first year together at the Courtauld and in London? What are you working towards? What are the challenges of keeping the group united now that you've all graduated and are potentially going to live in different countries? Anything you'd like to say to current students or recent graduates from the Courtauld? Interview questions by Bianca Schor This article was first publ

Dispossession: The Great Social Housing Swindle (2017)

‘Elephant Park’, 2017 formerly the Heygate Estate. Photograph by Matt Page. Since its inception in the early twentieth century, the position of social housing in Britain has been transformed. Whereas in the post-war period home ownership with state support was aspirational, today it is regarded as freeloading and a target for populist contempt. Housing estates were once loci of opportunity and community, but they are now frequently described as ‘sink estates’ – wastelands, suffocating due to deprivation. Dispossession: The Great Social Housing Swindle, directed by Paul Sng and narrated by Maxine Peake, is a new documentary film about the state of social housing in Britain. It is an ambitious

Tove Jansson (1914-2001)

Illustration by Lucy Key-Stratton In the 72 years of their existence, the names Moomintroll, Snorkmaiden and Snufkin have come to overshadow that of their Finnish creator, Tove Jansson. Yet a new exhibition at Dulwich Picture Gallery seeks to redress this, establishing Jansson as an artist outside the fantastical world of Moominvalley. It introduces a true polymath, who worked across painting, theatre, novel-writing and opera, as well as cartoon and illustration, and may start in a surprising place for the hordes of families atthe gallery on a Saturday morning. A number of paintings, conspicuously Moomin-free, take clear influence from Munch, Gauguin, and Matisse, an influence gained during

Light / Dark

Annely Juda Fine Art: 8 November - 14 December 2017 Annely Juda Fine Art presents a group show exploring a fundamental principle of art making, light and dark. A somewhat obvious notion, but the work in this show demonstrates a variety of creative applications to such a simple theme. Featuring work from 1960s to present day, the range in media and technology makes for interesting relationships to be drawn between artworks. Stefen Gec, A Glass Index III, 2015, aluminium and glass valves, 2 parts, 35cm diameter each, (Annely Juda Fine Art) Bright neon lights of the work of Francois Morellet engulf the 4th floor space. So bright, it is heavenly. But it is Stefan Gec’s piece ‘A Glass Index III’


For the next few months, ten floors of Tate Modern will be dedicated to the work of the Russian conceptual artists, Ilya and Emilia Kabakov. The exhibition includes recreations of three of the couples’ so-called ‘total installations’: immersive environments which include a mixture of painting, drawing, sculpture, theatre and poetry that engulf the viewer in an eerie narrative. One of these installations, The Man Who Flew into Space, first created in 1985, is a shabby room covered in Communist posters and slogans, which celebrate the USSR’s technological achievements. The viewer quickly realises that the room has just been vacated, its former occupant having built himself a makeshift catapult

2018 Annual Conference

CONFERENCE ASSISTANTS WE NEED YOU! The 44th Association for Art History Annual Conference Visual Culture will be co-hosted by the Courtauld Institute of Art and King’s College London from Thursday 5 to Saturday 7 April 2018. The Annual Conference is the major conference for professional art historians in the UK. It attracts up to 600 delegates, speakers and publishers, including leading international academics, curators, researchers and postgraduate students. The conference theme this year is Look Out! There are 40 academic sessions and a more informal Festival. Go to We are currently seeking 24 art history students (under and post gradu

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The Courtauld Institute of Art

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