The Art-Nature Laboratory or The Mushrooming Cabinet of Wonders

Tuesday 14 June – Sunday 9 October 2022

© Uriel Orlow, What Plants Were Called Before They Had A Name

Is the city a living organism? Why do oceans change color? Are glass-and-concrete skyscrapers nature, too? The fifth iteration of this interactive exhibition fzooms in on questions that revolve around the ways in which our environment is changing. We take inspiration from artists who explore climate change and natural ecosystems as well as the city as a habitat for animals, plants, and humans. Curated by Kunsthalle Wien’s art education team, Wolfgang Brunner, Michaela Schmidlechner, Michael Simku and Martin Walkner. Uriel Orlow presents the work What Plants Were Called Before They Had A Name.

Rebuilding Connections

Saturday 11 June – Saturday 1 October 2022

© Uriel Orlow, Forest Essentials Take Two / Close-Up (Bóbe), 2022 (wood cut on Japanese paper, 46 x 62 cm, edition 12 + 4AP)

Uriel Orlow presents two new works for “Rebuilding Connections” by Edition VFO (Zurich), together with works by artists Mirko Baselgia, Olaf Breuning, Natacha Donzé, Delphine Reist, Sergio Rojas Chaves, Anouk Tschanz:
— Forest Essentials Take Two / Close-Up (Bóbe), 2022 (wood cut on Japanese paper, 46 x 62 cm, edition 12 + 4AP)
— Forest Essentials Take Two / Long Shot (Bóbe), 2022  (silkscreen print on wood, 46 x 62 cm, edition 12 + 4AP)

Back to the roots

Tuesday 7 June – Saturday 24 September 2022

© Uriel Orlow, What Plants Were Called Before They Had a Name

Group show with works by Ravi Agarwal, Ambra Castagnetti, Wilson Diaz, Monica Ursina Jäger, Karrabing Film Collective, Hunter Longe, Maurice Maggi, Naufus Ramirez-Figueroa, NGGAMDU.ORG in collaboration with Tomás Saraceno, organized by AIA (Awareness in Art) in Löwenbräukunst, Zurich. Curated by Martina Huber-Marthaler and Gianni Jetzer.

In the Anthropocene, processes of exploitation shape humanity’s relationship with nature. In the face of ecological crises, voices have emerged that question its legitimation. The exhibition Back to the Roots presents artistic positions that offer alternative views of ecological thinking, expanding the consciousness of earthly coexistence, thus overcoming the colonial past.

Plant Kingdom

Thursday 2 June – Sunday 24 July 2022

© Uriel Orlow, Muthi, 2016 (single-channel HD video with sound)

Group exhibition curated by Flóra Gadó and Dalma Eszter Kollár, with works by artists David Eisl, Marta Fišerová Cwiklinski, Kitti Gosztola – Bence György Pálinkás, Nona Inescu, Mónika Kárándi, Stella Koleszár, Dániel Máté, Barbara Mihályi, Uriel Orlow and Sergio Rojas Chaves. The exhibition’s point of departure is the extent to which our attitude to care has changed in recent years as a result of the pandemic. Exploring the small, even invisible manifestations of caring and how it can extend to the non-human world around us, the exhibition focuses on plants.

Production Design & the Cinematic Home

Friday 10 June – Friday 29 July 2022

Production Design & the Cinematic Home uses in-depth case studies to explore the significance of the design of the home on screen. The chapters draw widely upon the production designer’s professional perspective and particular creative point of view. The case studies employ a methodology Barnwell has pioneered for the analysis of production design, which can be used as a key to decode the design of any given film. Through the nurturing warmth of the Browns’ home in Paddington, the ambiguous boundaries of secret service agent homes in Tinker Tailor Soldier Spy and the ‘singleton’ space occupied by Bridget Jones, Barnwell demonstrates that the domestic interior consistently plays a key role. Whether used as a transition space, an ideal, a catalyst for change or a place to return to, these case studies examine the pivotal nature of the home in storytelling and the production designers’ significance in its creation. The book benefits from interviews with production designers and artwork that provides insight on the creative process. 

Joint book launch: Jane BarnwellProduction Design & the Cinematic Home (Palgrave, 2022) & Christopher Hogg, Adapting Television Drama: Theory & Industry (Palgrave, 2021), at Fyvie Hall, 6.30-8.00pm, Friday 29th July. 

This event is part of TV Londons: Exploring Representations of London on Television, a two-day conference held at Regent Street, London, on 28th & 29th July. 

TV Londons – Registration open

Thursday 28 July – Friday 29 July 2022

Noughts + Crosses (BBC, 2020)

Adapting Television Drama: Theory & Industry by Christopher Hogg

TV Londons: Exploring Representations of London on Television
July 28th and 29th 2022, Fyvie Hall, 309 Regent St., London W1B 2HT

A CREAM, University of Westminster conference, in collaboration with the University of Brighton

REGISTRATION NOW OPEN – REGISTER HERE

In addition to conference access, the registration fee includes refreshments, buffet lunch, and a walking tour of London television and film locations. (The conference is free to University of Westminster staff and students – see details below)

Organisers:

Confirmed keynote speakers:

  • Professor Jonathan Bignell (University of Reading)
  • Professor Charlotte Brunsdon (University of Warwick)

Confirmed industry speakers:

  • David Wickes: producer/director, Jack the Ripper (Euston Films/Thames 1988).
  • June Hudson: costume designer, EastEnders (BBC 1985-present)
  • Nathaniel J Hall: actor, It’s a Sin (Channel 4 2021)

Overview:

London has been depicted extensively on British television, in part due to its centrality in British culture but also due to the fact that much of the British television industry has historically been located there. This conference was inspired by the experience of watching television during lockdown and the effect of seeing empty London streets across a range of genre contexts, from post-apocalyptic dramas to contemporary news. For many people, ‘visiting’ London became a virtual experience during lockdown.  

The two-day conference, to take place in the University of Westminster’s Regent Street building, will bring together academics and industry professionals to explore the visualisation and dramatization of London on television across genres, in everything from situation comedy to news to documentary to science fiction to period drama.  

Scholars such as Colin McArthur (1997) and Charlotte Brunsdon (2007) have identified a ‘London discourse’, meaning sets of onscreen signifiers of place that are historically contingent and often only loosely connected with the material city itself. Connectedly, this conference is interested in the ways in which conditions of production shape representation, especially in terms of production design and costume design, and how location shooting and studio design affect the depiction of screen ‘Londons’. In addition, we are interested in how London is represented in television content made outside of the UK. Equally of interest is the relationship between the city and identity/community, repeatedly explored in television storytelling over the years.

Panels include topics such as:

  • Making TV Londons
  • Fantasy Londons
  • Virtual Londons
  • Other Londons: Representation, Power and Inequality
  • London from Abroad
  • Heritage Londons
  • Industry Perspectives

Another dimension to ‘TV Londons’ is the status of the city as a key site of media tourism in the UK. Nick Couldry (2004) notes the way in which the use of recognisable locations in film and television involves a process of ‘site sacralisation’, where the media industries recycle conventional signifiers of place and, in the process, transform locations into sites of pilgrimage for viewers. As a way of exploring this, there will be a walking tour of London television locations as part of the first day of the conference.

The conference will also close with a joint book launch for Christopher Hogg’s Adapting Television Drama: Theory & Industry (Palgrave, 2021) and Jane Barnwell’s Production Design & the Cinematic Home (Palgrave, 2022).

We look forward to welcoming you to TV Londons. Please do not hesitate to contact the conference organisers with any questions.

The conference is free to University of Westminster staff and students. However, please email Chris Hogg before Friday July 22nd if you plan to attend: c.hogg@westminster.ac.uk 

Mariana Cunha profile photo

Mariana Cunha

Mariana Cunha is a Lecturer in Screen Studies. Her interdisciplinary research explores the role of nature and the nonhuman in contemporary global cinema and moving image-based art, with a special focus on Latin America. It engages with the relationship between ecology and the afterlives of colonialism, and how it comes to bear on contemporary filmmaking and artistic practices.

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Research Areas

Film and Media

Film and media research is a long standing area of excellence at CREAM, and leads the field for interdisciplinary approaches to moving image practices and their discourses. CREAM research ranges from experimental documentary to moving image installations of international renown.

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Confessions to the Mirror at Kunsthale Rotterdam

Saturday 21 May – Sunday 28 August 2022

Confessions to the Mirror, a film by Sarah Pucill, is on display in the Claude Cahun exhibition ‘Under the Skin’ at the Kunsthale Rotterdam until 28th August 2022. 

The exhibition was initially curated by Julia Steenhuisen but due to COVID restrictions the exhibition was only open to the public for a few weeks.  It is also due to tour to Denmark in 2023 to Brandts Museum Gallery.

In ‘Under the Skin’ the visitor is transported to the world of the French artist, writer, and activist Claude Cahun. Kunsthal Rotterdam will be presenting over sixty photographs, photomontages, publications, and archival material by and about this versatile artist. Although Cahun’s revolutionary work remained unnoticed by the general public for a long time, she has been a major source of inspiration for renowned photographers like Cindy Sherman and Nan Golding, but also for people like David Bowie. The common thread of the exhibition is formed by important themes from Cahun’s turbulent life: the exploration of different (gender) roles and identities, her involvement in the Paris avant-garde and experimental theatrical companies, her acts of resistance during the Second World War, and her clear views on the world around her. The majority of the photographs in the exhibition have been enlarged and printed using contemporary techniques in order to bring Cahun’s theatrical en penetrating work even closer to the public.

Geographies of Ruins in Contemporary Brazilian Cinema

Friday 20 May 2022, 15.00–18.00

Ecological Futurism, Ambika P3 and University of Westminster Film TV and Moving Image MA present: Geographies of Ruins in Contemporary Brazilian Cinema, screening and conversation

15:00 Screening of Hu Enigma (Pedro Urano and Joana Traub Csekö, 2011)

16:30 Conversation between Dr. Guilherme Carréra (joining via Zoom) and Dr. Mariana Cunha 

In recent years, several unconventional documentaries have been released portraying distinct geographies of contemporary Brazil, which articulate critiques of the notions of progress and (under)development in the country. This event will unpack ideas around urban and ecological ruins present in recent films, which offer radical depictions of the afterlives of (neo)colonisation and neoliberalisation in the context of Brazil.

There will be a screening of Pedro Urano’s and Joana Traub Csekö’s 2011 film Hu Enigma. The film is a cinematic portrait of the University Hospital in Rio de Janeiro, a building that is part public hospital and part ruin serving as a metaphor for utopia and dystopia. The screening will be followed by a conversation.

Speaker Bios:

Guilherme Carréra is a postdoctoral researcher at the Federal University of Rio de Janeiro. He holds a PhD in Film awarded by the University of Westminster, CREAM, with a project sponsored by the CAPES Foundation (Ministry of Education, Brazil). 

His book Brazilian Cinema and the Aesthetics of Ruins (Bloomsbury Academic, 2021) examines imagery of ruins in contemporary Brazilian cinema and considers these representations in the context of Brazilian society. The book looks at three groups of documentaries focused on distinct geographies: Brasília – The Age of Stone (2013) and White Out, Black In (2014); Rio de Janeiro – ExPerimetral (2016), The Harbour (2013), Tropical Curse (2016) and HU Enigma (2011); and indigenous territories – Corumbiara: They Shoot Indians, Don’t They? (2009), Tava, The House of Stone (2012), Two Villages, One Path (2008) and Guarani Exile (2011).

Mariana Cunha is a Lecturer in Screen Studies at the University of Westminster. She has a PhD with a focus on Brazilian Cinema and a MA in Cultural and Critical Studies from Birkbeck, University of London. Her recent research addresses the relationship between cinematic affect, spatial practices, and ecological visualities in Latin American cinema. She co-edited the books Space and Subjectivity in Contemporary Brazilian Cinema (Palgrave Macmillan, 2017) and Human Rights, Social Movements and Activism in Contemporary Latin American Cinema (Palgrave Macmillan, 2018).

This event is free and drinks will be served – please get your entry tickets here.

Presented by the Centre for Research and Education in Arts and Media (CREAM), Ecological Futurism, Ambika P3 and the University of Westminster Film TV and Moving Image MA

INLAND, ISLAND

Thursday 3 March – Saturday 2 April 2022

INLAND, ISLAND, an Asian Film Archive programme of 18 Southeast Asian films, curated by Patrick F. Campos, including works by Garin Nugroho, Yuda Kurniawan, Teng Mangansakan, Sheron Dayoc, Remton Siega Zuasola, Uruphong Raksasad, Pimpaka Towira, Chong Keat Aun, Putri Purnama Sugua, Brian Chew, Truong Minh Quy, Pham Thu Hang, Jai Jai, Ka Xiong and Cyril Eberle, Kalyanee Mam, Kirsten Tan, and Russell Morton, runs from 3 March – 2 April 2022 at the Oldham Theatre in Singapore with a parallel screening online of four short films. 

INLAND, ISLAND envisages the growth of filmmaking in the region without relying on the fictions of state boundaries and centre-periphery relations but neither does it erase the organizing ideal of the national nor idealize the ambiguous promise of the postnational. Instead of bounded thinking, the programme provides an opportunity for a topological and scaled appreciation of how films are made, where, by and about whom, mapping cinematic imagination as dynamic processes of place-making grounded in historical moments. 

*** 

Like the tidal islets of Pulau Hantu (Ghost Island) in the Strait of Singapore that are deeply connected but sometimes appear as separate, the satellite programme of INLAND, ISLAND online, featuring four films available worldwide via the AFA’s website, offers a glimpse into how figurative “island” (as opposed to “national”) filmmaking in the region can unsettle but reveal flows, be mobile but chart new grounds, appear solitary but call forth communities. The online programme is available to stream from 3 March – 2 April 2022