Sheriff Court convenes at murder suspect Neil Cumming's hospital bedside.kempton

Alan Kempton, principal procurator fiscal depute in Perth leaving Ninewells Hospital.

Walk through time on Sunday 25th September 2011, 12 - 1pm

Ms ChanJoin me on Sunday 25th September between 12 - 1pm, with archivist Julian Warren and curator Nav Haq and we will walk through time on a tour of Self-Portrait: Arnolfini. The talk and tour, from 1831 to 2061, will culminating in the launch of  Self-Portrait: Arnolfini the book of the project beautifully designed by Stephen Coates, especially for Arnolfini's 50th anniversary.

See the installation of Self Portrait, part 1, or part 2, or the Futures workshop

16 Narrow Quay
Bristol, Avon BS1 4QA
0117 917 2300

tahrir squareOn Friday 30th September and Saturday 1st October 2011, I participated in Media Squares: on the new forms of protests and their media, organised by De Baile, in Amsterdam. And two weeks later joined the Occupy London protest.

Social protest has become almost inseparably linked to a plethora of media images and messages distributed via internet, mobile phones, social media, internet video platforms and of course traditional media outlets such as newspapers, radio and television. A popular category to have emerged recently is the 'twitter-revolution'. In almost all cases - Iran, Tunisia, Egypt, and London - the role of the platform turned out to be less influential in retrospect, although certainly, deeply rooted blogger-networks did play a mayor role, preparing the protests that have now been dubbed the Arab Spring. And digital connectivity played a crucial role in the organisation and co-ordination of the European 'anti-austerity' protests in Spain, Greece, UK and Italy where protest was manifest on the streets and particularly in public squares.

Ms Chan

From the 17th September 2011 –  5th February 2012, Museum Futures: Distributed is being exhibited at ZKM in Karlsruhe as part of The Global Contemporary. Art Worlds After 1989

Museum Futures: Distributed - is a machinima record of the centenary interview with Moderna Museet’s executive Ayan Lindquist in June 2058. It explores a genealogy for contemporary art practice and its institutions, by re-imagining the role of artists, museums, galleries, markets, manufactories and academies.

Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art, are faced with the questions as to the extent to which the concept global can and must be thought – and how this reflects back on its own methods of working. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. A critical analysis of the key institutions of the art world seeks to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions of possibility. WithThe Global Contemporary. Art Worlds After 1989  ZKM | Karlsruhe, imagines itself as a utopian factory a place in which local experiences of time subvert the unity of the new universal time.

Candas, AsturiasAranjuez to Chinchon







Enthusiasts posterA selection of films  from the Enthusiasts archive I co-founded is being exhibited as part of Ostalgia at the New Museum in New York,  from 17th July - 25th September 2011

Ostalgia takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago—after the fall of the Berlin Wall—from the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations were reconfigured, their constitutions rewritten, their borders redrawn. Ostalgia exhibits art produced in and about some of these countries, many of which did not formally exist two decades ago. Mixing private confessions and collective traumas, the exhibition traces a psychological landscape in which individuals and entire societies negotiated new relationships to history, geography, and ideology.

 QUAM 2011 - Wikipolis 8th and 9th July, 2011

I made a presentation of Parade, at Wikpolis, the workshops presentations, exhibitions and events unfolded at ACVic Centre d'Arts Contemporànies, Vic -Barcelona 

Wikpolis. Cartographies and collective creation of the social space

One contemporary experience that has clearly caused great changes in the social, political and cultural contexts is the practice of building tools and computer technologies based on open source. A mechanism based on the sharing of results and processes, where the achievements of a group or an individual are also starting points for others. A succession of connected elements mixing creativity, skills and material production, built and consumed through a shared experience. One element allowing the generation of content, based on collective experience, is the wiki. A wiki is a website which allows creating and editing any number of web pages connected to each other, sharing a common language and allowing access to a control group. From this perspective, the construction of tools, tactics and collective practices applied in the context of the city, will be the subject to be discussed in the forum and project workshops in this edition of Quam 2011. Wikpolis translates the possibility of meeting and proposing projects focusing on this option of the node to the context of space and the policies that regulate it, providing with the opportunity to create new shared strategies for modifying social and cultural context.

Recently hosted on the magnificent resource Reading Design

this short text was first published by Architectural Design, Vol 72 No 4, entitled Furniture + Architecture guest-edited by Edwin Heathcote, July 2002

Look at me, look at me, look at me

Stool It was the design historian Reyner Banham who coined the phrase ‘furniturization’. He was writing in the seminal catalogue for Modern Chairs 1918-1970 an exhibition at the Whitechapel Art Gallery in the summer of 1970. Banham evolved the phrase to describe a change that he recognized in the material world. A change in how previously unselfconscious and virtually invisible domestic artifacts – essentially the bibelot of everyday life; like chairs, taps, cuttlery, doorhandles, etc - had suddenly become great design objects that demanded attention.  Previously humble things were growing vast promotional superstructures that meshed beautifully with the rise of a culture of retail, celebrity and promotion.


Forsythe's  dance soloBarn doors, RiocalienteBat-eared kittenAngel MoneyRoof AccessBasia