MIRIAD Newsletter v2

7/21/2019 MIRIAD Newsletter v2

1/16

All change at Righton: upstairs, downstairs, stirring

up dust, letting in light, losing and gaining space

MIRIADThe Newsletter of Manchester Institute for Research and Innovation in Art and Design

Spring 2013

NEWSNo longer will visitors to MIRIAD be

confronted by the infamous and

eccentric numerical keypad with

two number sixes, and an entryphone that

isnt connected to anyone. MIRIAD has

moved upstairs, knocking down some walls

on the way.

The ground oor of the Righton Building is beingtransformed into the entrance of Hollings Faculty

as it moves from Falloweld to a refurbishedCavendish South.

The gloomy rooms at the

front of the building havebeen abolished, creatinga space that echoes the

previous ground oor foyer,site of many a supervisors

meeting.

The space will be lit both by

Old building, new spaces, new ofces, new people

the roof lights and by the original windows, with their

stained-glass lozenges.

Beyond the glass wall, the kitchen at the rear , and

the handsome staircase have been retained. Staffofces have moved upstairs. Room 114 has become

a research students study space.

To create additional space for postgraduates,MIRIAD has been allotted shared quarters on the

fth oor of the Chatham Building.

MIRIAD launches student-led digital journal

With the themeTowards the Edges ofPerception, MIRIADs

new journal is invitingcontributions from

practice-basedresearchers.

See Page 9

The MIRIAD Spring 2013 newsletter was edited by Alison Slater and Ralph Mills

MIRIAD newsletter final V2.indd 1 2/5/13 12:41:03


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Righton as it was...

Cavendish House, home of Rightons drapers shopCourtesy of Manchester Libraries,

Information and Archives, Manchester City Council

Rightons Drapery Store was established in 1905,on the corner of Cavendish and Ormond Streets.Cavendish House was faced with white glazedbricks and moulded buff terracotta decorations, the

building was designed to let as much light as possibleinto its interior. A.D. Righton displayed his name ingrand bas-relief terracotta above the entrance. Inside,

the gallery around the atrium is supported on castiron columns and arches, the columns being topped

with Corinthian capitals. Cavendish Street, nowtruncated by the Ormond Building, was then a busy

thoroughfare. Instead of dodging manic cyclists, onewould have dodged trams trundling past Chorlton-

on-Medlock Town Hall (now the Holden Gallery)the Regional College of Art (still the Art School),Rightons then next-door neighbour, the tall-spired

Congregational Chapel, and Pauldens DepartmentStore. The building on the opposite side of Cavendish

Street, now part of Ormond, was the headquarters ofChorlton Poor Law Unions Guardians.

John Hyatt and Jim Aulich

were determined that

the ambience of the ground

oor Righton foyer, a place

to meet, study, debate, relax

and network, a place that

encouraged serendipity, would

in some form be replicated after

the upheaval. The opened-out

space will allow light into what

had been a suite of dull rooms,

and overlooks the greenery of

Grosvenor Park.

Millinery to MIRIAD



3/16

Designing Our Futures An update

Designing our Futures offers research degree students and early career researchersfunded opportunities to develop professional, research and life skills. Some of theprojects are in full swing, others are still open for people to join.

See the website for current opportunities: http://dof.miriadonline.info/

Some of the highlights are:

The Code Creativesproject is looking for people who would like to do a placement with an arts or

commercial organisation. It is also looking for people who would like to work with a coder in residence at

MIRIAD.The DARE(Digital Arts Research Exchange) project is launching an online journal and is offering

opportunitiefor involvement in all aspects of this, from writing to editing to designing. It is also offeringplacements with partner organisations.

The Design for Deserticationproject which takes place in Portugal has a call for papers for aninternational conference in Portugal in June.

The Design for Writingproject is inviting applications for participation in seminars and a workshop at theArvon Foundation.

The Design for Communitiesproject based at the Biospheric Foundation in Salford is running workshopsabout working with communities, from May to July.

For more information contact Myna Trustram ([email protected])

...and as it almost is...

Amid the paint cansand ladders, the frontwindows of the Rightonbuilding reappear.

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4/16

MIRIADs new Research Degrees Associate

No sooner had Dr. Myna Trustram satdown at her desk in Professor Jim

Aulichs ofce than she was packing

her les into boxes for an abrupt move

upstairs, and she was soon seen gamely

working on the other side of strands of keep

out tape amongst the temporary chaos of

the remodeling of Righton.

For now that Melanie Horton is living the clichd

Aussie dream (according to her Facebookstatus,see

p16) in South Australia, Myna has taken over the role of

Research Degrees Associate and has quickly become

a familiar face at MIRIAD.

Much of her time at MIRIAD is focused on the

minutiae of Designing our Futures, the AHRC-funded

PARCNorthWest initiative that was launched in 2012 and

is now producing its rst outcomes (the rst of many).

My role involves anything from arranging insurance

to inuencing future development;

residencies, seminars, research

and much besides, says Myna.

In addition, shes dealing withan increasing number of staff

and student development activities. However, Myna

stresses that I really want to be regarded as a rst

port of call to whom students can bring issues that

dont need their supervisors attention, someone they

can ask for help or simply ask for information.

When the Righton dust settles, Myna will be spending

one day a week on her own research, in which she is

looking at objects, collections and museums from a

psychological point of view.

Myna gained her PhD at the University of Bristol in her20s, researching marriage and the Victorian army, which

led to a book, Women of the Regiment: Marriage and

the Victorian Army (CUP 1984). She then spent the next

couple of decades working in museums, as a curator

and eventually a consultant. Her nal role in a museum

was at Manchester Art Gallery where she worked

with the Renaissance in the Regions programme in

a partnership of six museums. It was the interactions

between these collaborating/competing partners

that fed a growing interest in the ways organisations

functioned. She discovered the work of the Tavistock

Institute, and studied

p s y c h o a n a l y t i c -

based theories about

what happens in

organisations for an

MA in organisational

consulting.

It was while reading

around what was

regarded as a

social science that Myna discovered that none of

the literature looked at art and cultural organisations,

including museums. This realisation set her on the

track of the psychodynamics of museums, looking at

the relationships between individual and institutional

collections, asking questions such as Why do we

have museums? and positing their role as places

where we might use objects to connect with elements

of ourselves including loss and mortality. And in this

age when museums stores are

chronically over-stuffed, do we

gain reassurance just knowing that

all that stuff is merely there? What

might attempts at the rationalisationof museums and their collections

mean to those who use them or

who are just happy they exist? Her work will resonate

with a number of MIRIAD researchers.

So, after a long time entangled with local government,

including six years at Manchester Art Gallery, where

she became very familiar with the issues and

arguments around the Mary Greg

Collection, Myna is nally back in

academia, and shes very happy

about that! Being in a university is

very different, she explains. Forme theres a freedom I havent

encountered in other workplaces.

Im also happy to be in MIRIAD,

with its wide range of people

doing very different things across

disciplines.

Her feelings after ve weeks? I

love it!

Myna Trustram:

The museum in the mind

Is Melanie missing us?See page 16.

Researching thepsychodynamics of

museums

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Ifthe gloomy, subterranean, low-ceilinged, white-tile-walled spacethat is Manchesters 2022 venue resembled a convenience

rather than a gallery, then it was surely appropriate that oneof the artists taking part in Play Seriousin September 2012 wasshowing toilet roll holder dolls as an element of her work. That theVictorians clothed piano legs we know to be a myth, but it is a terrible

contemporary truth that people hide lavatory paper from the gaze ofthe innocent and those who might be inamed by the sight of naked

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In early 2013 the AHRC awarded the university 60,000 for a number of 12 week projects designed to promote andfurther develop opportunities for postgraduate and early career researchers to gain experience... outside higher

education.

The objectives of the scheme were to strengthen engagement and knowledge exchange between a universitys arts andhumanities research and its wider cultural and civil milieu; and to support the broader skills development of high-calibre

recent doctoral graduates particularly in relation to working with partners to support the wider impact of research.

Three former MIRIAD students were successful in obtaining support for the projects they proposed: Dr. Gavin MacDonald

with FACT, Liverpool; Dr Melanie Horton with the Art Gallery of South Australia, Adelaide and Dr Alison Slater withCastleeld Gallery, Manchester.

If the results from this years Cultural Engement Fund are deemed a success the AHRC assures us the scheme will becontinued in 2014, so keep your eyes skinned.

AHRC Cultural Engagement Fund

paper, and it is good to comment playfully on thisbehaviour.

My dozen or so fellow participants were acreative and original bunch, and I enjoyedmeeting them all and sharing their work and their

thoughts, with play and seriousness matchingthe tful light seeping into the basement.

There was Anarchist Alefrom thebar to match what was billed as anexplosion of art, critical insight and

creative activity.

The venue was hidden down anarrow alley. Once there, and having

purloined a table and an electricitysupply, I was glad that Id broughtplenty of blu-tak, which the tiled walls

necessitated.

I had to duck out of the second day,

but not before I had the pleasure ofmeeting some established MIRIADresearchers, which was great. RM

Play SeriousRalph Mills was there

Engagement...Play Serious



6/16

David exhibited the photographic works DutchPainting and two new slide projection pieces as part

of the international group show A Lecture Upon theShadow at Shanghis ART gallery in Shanghai (July-

August 2012). The show travelled to the Open EyeGallery, Liverpool in December.

In August 2012 David exhibited the ongoing project

the Ship and the Noseat Shefeld Institute of Arts.The work is a development of a project made inresidency at Manchester Central Library with the

Photography Research Group. Using found objectsand unwanted ephemera left behind during the

librarys renovation, the work rebuilds a collection

Trinity College Dublin, June 2012

Conference Paper: Imag(in)ing The Wake: graphic mimesis in the reading and visual adaptation of FinnegansWake. South Atlantic Modern Languages Association (SAMLA) & the Society for Critical Exchange, DurhamNC, November 2012

Panel: Joyce and Visual CultureConference paper: Drawing on Water: graphic reading and the Interiority of the visual in Finnegans Wake.

I am currently a full time Senior Lecturer on the BA(Hons) Graphic Design and Taught MA in Art and Designcourses at MMU.Member of PPR Practice, Process and Reection, art and design practice-as-research group supported by

MIRIADInside Photography:ten interviews with editors, collaborative book project with David Brittain (ongoing)

Visual Discourses, international collaborative project with Dr. David Haley (MMU), Dr. Colleen Morris &Stephen Pascoe (NMIT, Australia),

David Penny

Clinton Cahill2nd Year PhD (Design)

of media, developing a narrative thread, producinga potential journey that the Ship and the Nosehas

come to represent.

David has produced a visual essay, Picturesof Things and Things that are Pictures: Artistic

Research and its Document as Artists Bookwhichhas been included in the publication Photography

and the Artist Book, published by MuseumsEtc.. Thevolume features a number of essays from a rangeof international artists, writers and academics from a

conference that took place in November 2011 at theManchester Artist Book Collection.

http://www.davidpenny.info

Inside photography...pictures of things

interim exhibitionInterimis the working title of a

MIRIAD student-led practice-in-

progress exhibition to be mounted

at the Paper Gallery, Mirabel Street,Manchester in October/November

2013. Curated by Laura Guy and

Simon Woolham, the bijou gallery will

display the work of research students

Sarah Baker, Sara Davies, Howard

Dean, Lokesh Ghai, Jan Fyfe, Sarbjit

Kaur, Ralph Mills, Liz Mitchell, Ela

Niznik, Mary Stark, Derek Trillo and

Simon Woolham.

See www.miriadonline.info for news.

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7/16

Sabbi helped organise and participated in the Play

Serious event in Manchester, September 2012.

Play Seriouscame about through the PARC North-West (Practice as Research Consortium NorthWest)23rd May 2012 event Opportunities for Postgradu-

ate Researchers and Early Career Researchers.

It was aimed at practice based/led/as early careerresearchers, the postgraduate community and su-

pervisory teams of all HE Institutions which make upthe PARC NorthWest Consortium (http://parcnorth-

west.miriadonline.info/consortium/).

Sabbis Play Seriousportfolio: http://playserious.info/portfolio/sarbjit-kaur/

Sarbjit (Sabbi) KaurFinal year MA by Research, Sculpture

Ela NiznikMA by Research

Sabbi led a series of creative workshops, ComePlay With Me, that gave participants a chance

to brush away cobwebs and give the left side oftheir brains some play time. She invited research

students whether doing a practice led/based MA orPhD or not, to come join us to sketch, cut, stick andmould and give your imagination a workout.

In October 2012, Sabbi had an article published on

the Sikh Nuggetweb site, which describes itself asThe premier website on Punjab and Sikh heritage:

(http://www.sikhnugget.com/2012/10/questions-that-unbalance-me-exploring.html). She also appearedin the Sikh Spectrum programme broadcast on the

Sikh Channel talking about her MA and its impacton the Sikh community: in November 2012. (http://

www.sikhchannel.tv/default.aspx)

Ela Niznik is in the process of completing her MA

by Research at MIRIAD. The focus of her researchis on displacement and how this can relate to

fragmented identities.

She will conduct a practice-based investigation toexamine how belongings, remnants of place andmemories of home can narrate the resettlement of

Poles in the UK following WWII. She completed herBA in Creative Practice at MMU in 2012.

Ela hopes to incorporate or Up-Cycle fragments

from the site into her ceramic works as means offossilising collective memories and the history of a

place.

Come Play with Me...displacement

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8/16

In November 2012, Charalampos presented hispaper Fashionable Illusions at the internationalconference Scaleless-Seamless? Performing

a less Fragmented Architecture and Educationorganised by the European Network of Heads of

Schools of Architecture (ENHSA), the EuropeanAssociation for Architectural Education (EAAE) and

the Departments of Digital Design and BuildingConstruction, MSA Mnster School of Architecture,

Germany. (More information (http://scaleless-seamless.org/)

Politakis, C 2012, Skeletal Apotheosis of theHuman Body, Rethinking the Human in Technology

Driven Architecture International Conference,Chania, Crete, Greece, August 2011, in Rethinking

the Human in Technology Driven ArchitectureInternational Conference, European Networkof Heads of Schools of Architecture (EAAE)

European Association for Architectural Education(ENHSA), Transactions on Architectural Education

No 55, 447-455.

Charalampos exhibited at the contemporarymusic and visual arts festival Reclaiming the Past,

Regaining the Real festival // beta version, at theAbout cultural space & gallery in Athens, Greece,

25th September to 14th October 2012. Earlier inJuly 2012, he took part in the three-day InternationalVideo Art Festival MIDEN, held in Kalamata,

Charalampos Politakis

April 2012: PCA/ACA conference, Boston:

Cinderellas Pleasure: the double coding of girl teenlm.

May 2012: 8th European Feminist Research

Conference, Budapest: Cinderellas Pleasure: thedouble coding of girl teen lm.

September 2012: 1st Global Conference: teenagers

and contemporary visual culture, Oxford: Musicvideo aesthetics and girl teen lm.

Media: National and Global, seminar tutor.

Book chapter: Music video aesthetics and girl teen

lm in forthcoming edited collection Sugar andSpice: Global cinemas of Girlhood

Peer Reviewer: MECCSA - Networking Knowledge

Steering group - Teens and Contemporary VisualCulture Project.

Samantha Colling3rd Year PhD Student (Film and Media)

Greece, one of 216 artists chosen from over 1500

applicants.

Charalampos took on two Graduate TeachingAssistant assignments in 2012. Early in the year

(January-February) he taught Adobe InDesign CS5,Adobe Illustrator CS5, Adobe Photoshop CS5 to2nd & 3rd year Landscape Architecture students.

Shortly afterwards (April-May) he gave tutorialsessions based both in studio and in the computer

suite to help 3rd year BA Landscape Architectureand Graduate Diploma Landscape Architecture

students with their exhibition preparation.

Photographic investigation into dimensionality andperspective

Jan took part in Denmark - On the Marginsgroupexhibition at Doverodde Book Arts Festival in May to

August 2012.

She has worked as an Assistant Lecturer to BAPhotography students. And run bookbinding

workshops for all undergraduates.

Jans work was selected by Ann Braybon to

showcase Source MA/MFA Graduate PhotographyOnline 2012 in a special supplement in the Autumn

2012 edition of Sourcemagazine.

Jan Fyfe1st Year PhD

Joy Uings 6th Year PhD (P/T)Gardens and gardening in a fast-changing urban

environment: Manchester 1790-1850

Joy is approaching the end of writing up herresearch and is also working with Cheshire Gardens

Trust on the transcription of a Caldwell Nursery

archives.

Illusions...gardens...dimensionality...girl teens

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9/16

Work selected for the Jerwood Drawing Prize 2012.http://jerwoodvisualarts.org/3511/Jerwood-Drawing-

Prize-2012/311From its beginning, the Jerwood Drawing Prize has

championed the breadth of contemporary drawing inthe UK. From a submission of almost 3,000 entries,

the selectors have brought together an exhibitionof 78 works from 73 artists. The shortlist includes

established artists as well as relative newcomersand students fresh from art college.The selected works are exhibited at JVA at Jerwood

Space, London from 12 September - 28 October2012, and will then tour to venues across the UK

including the new Jerwood Gallery, Hastings and

mac, Birmingham in 2013.

I attended the inaugural conference of iAUV International Association of Visual Urbanists at the

British Library , London. October 8th 2012.

Drawing Research Network Conference,Loughborough University:

Conference theme - Drawing Knowledge.September 10th 11th 2012 .

Drawings included in the DRN 2012 juried digitallyProjected virtual drawing exhibition.

Howard Read1st Year PhD (P/T, Drawing / Cities/ Urbanism)

Nov 2012 21st Century Rural Museum, Palacio das

Artes, Porto, PortugalNov 2012 Cabedal, Plataforma Revolver, Lisbon,Portugal

October 2012 Meanwhile See This, CastleeldGallery, Manchester

Sept 2012 Rogue Open Studio, Rogue ArtistsStudios, Manchester2012 Neo:artprize 2012, Gallery 22, Bolton

February 2012 Part of the Programme, FinnishAcademy of Fine Arts, Helsinki, Finland

Research trip: Idanha-a-Nova, Portugal, researchtrip as part of the Design for Desertication research

project to document conversations with local people

and explore local customs and the visual landscapeto inform and generate new material for my practice.Collaboration: selected to take part as visual artist inthe 21st Century Rural Museum itinerant exhibition

over two years.

Ana Rosa Hopkins2nd Year PhD by Practice, Art and Design

Work: recently nominated as Director Fine Art

for Instituto Plano Cultural, (Brazil, Germany,Switzerland, UK) creating new opportunities for post

graduate Fine Artists and cultural collaborations andexchanges. neo:artprize 2012 winner, Bolton, UK.

an imperative to grow new organs, to expandour sensorium and our body to some new,

as yet unimaginable, perhaps ultimately

impossible, dimensions (Jameson, 1991: 80)

The theme of our rst issue explores practice-ledarts research which pushes at the boundaries

of knowledge, the senses, and humanperception. It reects upon the aims of tacit itself,which is dedicated to exploring and showcasing

research situated in emergent elds.

Papers/practice could focus upon work that:challenges or subverts sensory perceptions

explores the edges of perception in ultrasound/

infrasoundquestions how language shapes perception andunderstandingexplores how the body can respond or adapt to

stimuluscrosses multiple media/senses (ie, ekphrasis,

synesthesia)explores optic/auditory illusions, hallucinations,

physical tactile illusions affecting the body, etc.

Digital journal Tacit invites submissions of work

that interrogates emergent practice-led research,especially where it is enabled or informed by digital

technologies. We are particularly interested in workwhich utilises the potential of digital publishing

(including lm, audio etc), or the ways in which thedigital changes the nature of arts research.

Editorial policy aims for a mixture of academicwriting*, reective accounts and artworks that

demonstrate the range and debates within the eldof study. We will give equal weight to practice-led

research, accounts of it, and academic papers witha basis in the practice-led eld. Our editorial policy is

one of quality in relation to our themes, and will nothold bias against or for text/practice.

TacitTowards the Edges of Perception

(continued from page 1)

Desertifcation...urban drawing

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10/16

Simon Woolham has recently been on an exchange

at the Kunst Academie in Dresden, Germany, wherehe spent a week installing works and presentinghis practice and research to Students, Lecturers

and Curators in Dresden. Simon was chosen froma pool of Artists, exchanging with other PhD

Researchers and students from the KunstAcademie, who will be in Manchester in

September.

Simon also has a solo exhibition at 20/21

Arts Centre in Scunthorpe where he willbe presenting new work and a written

commission that explores narratives,exchanged with Simon from the employees

who work throughout the Arts Centre andfellow employees about the building and its

workings. This will be presented throughoutthe opening weekend, which coincides withthe literary festival throughout Scunthorpe:

http://www.northlincs.gov.uk/leisure/arts/20-21visualartscentre/exhibitions

One of Simons ongoing, live works on

Facebook, Remember Your Garden?which will be a part of his practice and research,

Simon Woolham1st Year PhD

asks participants to post descriptions related toremembering childhood gardens and intimate

places and an incident that happened there. Theintimate, collaborative process, through the drawingthat Simon presents, opens up a dialogue about the

representation and re-imagining of these places.

The output can be found at: https://www.facebook.com/pages/Remember-Your-

Garden/361672137192835

In December Simon will also be part of a curated

touring show called Edgelands at the BluecoatGallery in Liverpool, which will form part of Simons

research, watch this space.

Remember your garden

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11/16

Giving a presentation/experiment/symposium, Maud took part in Play Seriousin Manchester in September2012. She provided a document/critique for Imprint event (Manchester/Newcastle) and took part in the Imprint

Group exhibition in Newcastle (October 2012).

She will be taking part in group exhibitions in Alvanley Woods (May/June 2013) and Artists Access to Art

Colleges, University of Chester (June/July 2013) as well as mounting a solo/group exhibition in Newcastle.

Maud has been accepted for the Graduate Student Experience Tutor pool at MMU. She was appointed to anArtists Access to Art Colleges residency, University of Chester (November 2012 to June 2013).

My research considers materiality and memory in themuseum. For nearly 20 years I was a curator at Manchester

Art Gallery. As researcher, I am now investigating one ofits collections; the Mary Greg Collection of Handicrafts ofBygone Times and Dolls and Dollshouses. A sprawling

mass of domestic objects, amateur crafts, toys andminiatures, the collection has spent much of its museum life

in storage.

A recent collaborative research project, Mary Mary QuiteContrary (2009-2011), undertaken with staff from the Schoolof Art, began to explore the untapped potential of this

collection through creative practice. My research seeks to

extend the remit of this initial project, analysing the shiftingvalue and status of the collection during its museum lifetimeand its evocative appeal for contemporary audiences.

Presentations:

The Intimate Glimpse: Familial Narratives and the MaryGreg Collection at Siblings, University of Manchesterand Manchester Art Gallery, 23 March 2013. This

conference examined the implications of Juliet Mitchellspsychoanalytical theories of the sibling relationship for

artistic and critical discourse.

Believe me, I remain: the nest cotton threads spun on

the muleat Encounters, a Morgan Centre InterdisciplinaryConference, University of Manchester, 3-4 July 2013. Encounters can be personal and intimate, eeting and

serendipitous, conicted and provocative. This conference takes the theme of encounter as the starting pointfor interdisciplinary dialogue.

Publications:

A Question of Value: Re-thinking the Mary Greg Collection(with Sharon Blakey) in Collaboration through Craft,ed. Ravetz, Kettle and Felcey (Berg: 2013). Arising from a paper given at the international conference Pairings:

Conversations, Collaborations, Materials,Manchester School of Art , May 2011, this book essay discusses thecreative journey and outcomes of the collaborative project Mary Mary Quite Contrary.

Liz Mitchell1st year PhD candidate

Maud Goldberg 2nd Year, MRes Practice-led, Installation Art / Architecture

Ordinary things

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12/16

Ralph is studying the phenomenon

of miniaturisation in material culture,specically as exemplied by small-

scale mass-produced everydayornamental objects from the recentpast. His working title - Objects of

Delight: The Nineteenth CenturyMass-Produced Miniature.These

objects, although occurring onarchaeological sites, have been

little studied, yet apparently playedan important part in peoples lives,in that they were manufactured in

large numbers, desired, acquired anddisplayed at the heart of homes, often

above the hearth, on the mantelpiece.

As part of material assemblages,

they form part of the materialmemory of the lives ofworking-class peopleand the places in which

they lived. Ralph isan adherent of Sven

Lindqvists ethos ofDig Where You Stand,

which attaches value tothe history of ordinarypeople rather than elites.

He is also inspired by therevealing of social issues by

the documentary witnessing ofphotographer LaToya Ruby Frazier,

who explores the connections in decline and lossbetween people and abandoned places.

Ralph took part in the Play Seriousevent,Manchester, September 2012. (http://playserious.

info/portfolio/ralph-mills/). He presented a paper,0.99 archaeology: Small Things Considered,at the Ralph Mills

1st Year MPhil/PhD

CHAT (Contemporary and Historical

Archaeology in Theory) conferencein York, in November 2012 and will be

presenting at the Performative Mischiefsymposium in Loughborough and the Good

Things and Bad Thingsconference at Nottingham

Contemporary/Nottingham Trent University in June2013.

Web site: http://www.resofprometheus.org

Small things

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13/16

Cristina Rodrigues reports that the Design for Desertication project has

received signicant publicity in the Portuguese media. Our project is nowknown all over Portugal, thanks to all the debates, interviews, newspaperand the International Seminars and Exhibition last year, says Cristina. Oneof the most important ones is the Publico newspaper, she writes, because

its considered the best Portuguese newspaper. Investigadora acredita queo abandono do interior est a contribuir para crise econmica (Researcher

believes that the abandonment of the interior is contributing to economiccrisis www.publico.pt/Sociedade/investigadora-acredita-que-o-abandono-

do-interior-esta-a-contribuir-para-crise-economica-1506568). Cristina hasalso been interviewed several times for the TSF radio station, for example

on combating climate change (www.tsf.pt/PaginaInicial/Vida/Interior.aspx?content_id=1852391) and took partas a special guest in a political debate for the same station, in a show called A mesa do canato: The table inthe corner. She was also interviewed for the RTP TV show called Portugal em DirectoPortugal Direct which

focuses on Portugals rural areas.

DfD.Design for Desertication: http://creativeruralcommunities.wordpress.com//

Forthcoming curatorial projects at International

Project Space, Birmingham (April 2013) and TateLiverpool (Autumn 2013). Previous co-curation

and programming as part of Inheritance Projects

at Nottingham Contemporary (Feb 2012), TheHepworth Wakeeld (Jun 2012), MK Gallery (Jun2012), Peckham Artist Moving Image (Sep 2012),BALTIC Centre for Contemporary Art (Oct 2012),

SARAI, New Delhi (Dec 2012).

Cristina RodriguesDesign for Desertication

Laura Guy1st Year PhD Contemporary Art History & Curatorial Practice

Desertifcation...curation...advertising war

Presentations at The Lit & Phil, Newcastle with

the North East Photography Network & Universityof Sunderland (Oct 2012) and BALTIC Centre forContemporary Art (Nov 2012).

Review article: Chateau Despairby Lisa Barnard

in Source Photographic Review (Forthcoming- Spring); Review article: Car Crash Studies by

Nicolai Howalt in Source Photographic Review(Forthcoming - Spring); Audio-interviews for Source

Photographic Review (online - Feb/March 2013).

Visiting Lecturer, BA Photographic Arts, University

of Westminster, University of the Arts London andBirmingham Institute of Art and Design. Associate

Lecturer in Manchester School of Art, MMU.

Research trip to New Delhi and Chandigarh, Indiasupported by Vision Forum, Linkping Universitet(Dec 2012)

MA in the Photographic Image, Durham University

(completion Sep 2012); MA in Culture and MediaProduction, Linkping Universitet, Sweden

(completion Dec 2012); Vision Forum Associate,Linkping Universitet (2009-12); Consultant for

Contemporary Queer Artistic Practice in the UKSymposium, University of Sussex Centre for SexualDissidence

Leanne Green2nd Year PhD

AHRC Collaborative Doctoral Award (MIRIAD/

Imperial War Museum)Advertising War: War Publicity and the First World

War

Teaching: Associate Lecturer in MMU Art andDesign

Additional work: Lecture for Institute of HistoricalResearch Seminar Series, Advertising War: Charity

Imagery of the First World War, Imperial WarMuseumWorkshop talk, LR Bradley and the WarPublicity Collection

Prizes and Awards: AHRC Skills DevelopmentAward for interdisciplinary conference in 2014.

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14/16

Reconstructing Home Memory in theScandinavian Diaspora

Sara Davies is in the rst stages of her researchproject currently building the interior of a

Scandinavian barn in her studio, reconstructing apart of her ancestral home in Great Britain. She

is exploring how images, symbols and memoriesfunction within the Scandinavian Diaspora in

the North West of England using installation,photography, text and collage. Sara is currentlyinvestigating the possibility of exhibiting a book

documenting the process at the Gustav AdolfScandinavian Church in Liverpool, a centre for

Scandinavian immigrants.

Sara DaviesMA by Research Part Time

Material memories

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15/16

An investigation into thelmstrip as textile material

Exhibitions:March 2013 - Selected Scenes

from Star Wars light installationusing woven super 8mm lm

shown at Film Material Soupone day takeover event inresponse to the exhibition

Misdirect Movies at The RoyalStandard, Liverpool

February 2013 A Series

of Darkroom Experimentsexhibited at Kraak Gallery in

an exhibition by OneFiveEightCollective

January 2013 From Fibreto Frock, a 16mm black and

white looped lm installationexhibited at Critical Costume, a symposium at Edge

Hill University

December 2012 Selected Scenes from Star Wars

light installation using woven super 8mm lm shownat Mono No Aware Expanded Cinema event in at

Light Space Studios, New York

October 2012 Four feature lms woven togethervideo exhibited at the Knit and Stitch show touring

London, Harrogate and Dublin

September 2012 MA

Photography with Distinctionfrom Manchester School of

Art and woven lm installationexhibited in the Holden Gallery

February 2012 CornerhouseMicro Commission supported

by the Paul Hamlyn Foundation,

Thats Entertainment, awoven super 8mm feature lmexhibited at Kraak Gallery,

Manchester

May 2012 and March 2013- Participant on ExpandedCinema & Optical Sound, a

course led by Guy Sherwin,working with Steenbeck editing

tables, 16mm lm printing,camera-less lmmaking and

Mary Stark1st Year PhD part-time

projection, and Handmade Emulsion: Creating

Black and White Film Stock From Scratch atNowhere Artist Film Lab, London

Featured artist in Contemporary Practices:Where are we now? chapter and photographer

for international hardback publication Kettle.A & McKeating. J, Hand Stitch Perspectives,

Bloomsbury, London published October 2012

Mary is an Associate Lecturer on the BA (Hons)Textiles in Practice and Photography programmes atManchester School of Art

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Film as fbre



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Wanda took part in One Person Seven Hurdles,a collaborative performance with

fellow artists of TOGYG: the artists Andrew Agace, Jaci Atkinson, Jo Alexander,Lisa Hudson with Jelili Atiku from Nigeria in August 2012 at The Old Goods Yardin Treborth, Bangor, North Wales, UK.

Early in 2013 Wanda won the Royal CambrianAcademy Open Exhibition Prize 2013 with her

sculpture Presence II (right).

She also took part in KUNST ALTONALEHAMBURG 2012, an installation featuring

international artists that followed the highlyacclaimed Venice Vending Machine during the 54th

Venice Biennale.

Wanda Zyborska

It is with great sympathy that we report the trials and tribulations of Melanie since she left

MIRIAD in December. We hear that she has now arrived in Australia following a gruellingjourney through Asia. It turns out that her all-expenses-paid airfare wasnt all she had

hoped for and instead required an additional two months of overland travel on buses, trains,

kayaks, tuktuks, bicycles and even an occasional hitchhike.

On arrival in Oz she discovered that the blazing sun made her entire winter wardrobe

obsolete and repeated cooling dips in the sea a daily necessity. She misses drinking warmbeer with colleagues in the Salutation and sharing a busy ofce with her boss. Her lack ofan ofce in Adelaide means that she regularly has to work at home or nd a shady spot in

the Botanic Gardens, though her research so far has shown that ample material exists for

an in-depth study of the citys cultural life.

Melanie tells us she is prepared to support other researchers who wish to visit Adelaide but

warns they must be prepared for certain day-to-day discomforts such as outdoor amenities(eg. cinema, dining, shopping) and a variety of strange fauna that can make a swim in thesea or stroll in the park somewhat disconcerting. MH

A note from the Antipodes

www.miriadonline.info

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MIRIAD Newsletter v2

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